• Three teenagers in New York designed a cardboard, called Kiriboard, to replace plastic packaging.
• They got the idea when a box of motors for their robotics hobby arrived damaged.
• Their invention won the $12,500 Earth Prize. Now they plan to buy a machine to make more Kiriboards.

Three teenage boys in New York City have invented a clever packaging material that they hope will replace toxic plastics and make plastic-free shipping a reality.

Zhi Han (Anthony) Yao, Flint Mueller, and James Clare are planning to pursue a patent and eventually pitch their product to Home Depot, as well as traditional shippers like Amazon, FedEx, and the US Postal Service.

They call their geometric, cardboard invention Kiriboard, since it's inspired by Japanese kirigami, which is the art of cutting and folding paper.

"Something like this is the wave of the future," Jerry Citron, the teenagers' environmental-science teacher, told Business Insider.

Yao, Mueller, and Clare won the Earth Prize on April 8, making them one of seven winning environmental projects by teenagers across the globe. The award comes with $12,500, which they plan to use to buy a cutting machine, called a CNC router, and test more prototypes.

Plastic-free shipping could change the world

Just like any plastic, Styrofoam and other plastic packaging can shed microscopic bits of plastic into homes and the environment.

Microplastics have been detected from the oceans to the top of Mount Everest, in animals' and humans' body tissues and blood, and even in rain all over the planet. They're associated with heart attack and stroke risk. Some researchers suspect they could even be contributing to the recent rise in colon cancers in young people.

"I didn't realize it was as big of an issue as it was," Yao told BI. "I mean, companies have made sustainable initiatives and greener initiatives, but they haven't really fully replaced plastic packaging."

Enter the Kiriboard: Kiriboard is cut into lattice-like shapes so that it can bend to fill the space between an item and the wall of its box. The cuts give the cardboard a three-dimensional structure that makes it sturdy and allows it to bend and absorb impact, protecting what's inside, similar to bubble wrap but without the plastic.

Once perfected, the three teens hope their design can help ship packages of sensitive or heavy equipment even more securely, at a competitive price.

Broken motors and crumple zones

Clare, Mueller, and Yao are all on the same robotics team at Stuyvesant High School in New York City. Clare is a junior, and Mueller and Yao are seniors.

The idea for Kiriboard started when they opened a shipment of Kraken X60 motors, which are about $200 a pop. They found that the brass pins, which connect the motors to a robot, were damaged and unusable. They assumed the pins had been damaged in transit.

"We're like, well, we should do something about this packaging, because clearly the packaging wasn't good enough," Mueller said.

Clare thought about how cars are engineered with crumple zones, meant to absorb the energy of impacts to protect the people inside.

Similarly, he said, "you can make strategic weak points in your packaging so that the package warps and deforms," sparing the package's contents.

With help from the Earth Prize program and Citron, they built and tested their first Kiriboard prototypes.

The matrix

It was a scrappy effort, with cardboard scavenged from their school.

After some research and consulting various teachers, Yao said they drew up eight or nine different designs, and narrowed down to four to build and test. Then, came the fun part: dropping heavy stuff on their creations.

To test their prototypes' durability, the teens slammed them with a roll of tape, a stapler, a can of soda, and a metal water bottle — "which did the most damage, but not as much as we thought it would," Clare said.

They dropped each item onto the Kiriboard prototypes from various heights, so that they could calculate and study the physical forces of each impact.

"Basically, we want to see what's the most amount of force it can take before it snaps," Yao said.

The results were promising, the trio said. The Kiriboard prototypes sustained very little damage, which they judged by checking the cardboard for dents. They plan to move forward with all four designs, which they hope will be useful for different types of shipping.

In the design pictured above, four triangular "legs" hold the Kiriboard in place inside a box.

"This middle section, we call it the matrix. This is supposed to be flexible," Yao said. Once you place an item for shipping inside the box, the matrix "is supposed to form to the product."

Once they've purchased a CNC router to automate cutting the cardboard, they plan to test prototypes by actually shipping them in boxes.

"Right now, we want to perfect our product," Yao said.

When it's ready, they said they might also pitch it to the electronics company AndyMark, which shipped them the robotic motors that arrived broken.

"No shade to them," Clare said, adding that their robotics team frequently orders from AndyMark with no problems.

"We're on the brink of, like, this could become a reality, and it's just up to us to put in that final effort," Mueller said. Clare chimed in: "All from a broken package."

Roku is wading deeper into the smart home space with two new security cameras, which can run on batteries. As such, you'll be able to place the Roku Battery Camera and Roku Battery Camera Plus pretty much anywhere. 

The former is said to run for up to six months on a single charge, while the Roku Battery Camera Plus can operate for up to a couple of years before you need to juice it up. There's an optional solar panel attachment so you might never have to manually recharge the batteries.

These cameras are designed for simplicity. A step-by-step guide on your phone walks you through how to set them up. They provide 1080p full-color visuals and there's a color night vision mode. Other features include motion detection and notifications. You can create schedules for the cameras too. 

Of course, you can monitor what the cameras see via the Roku Smart Home app or the web, as well as Roku TVs and streaming devices. Through the Roku Cameras app on your TV, you can view a carousel of camera feeds that cycle either periodically or based on motion events. There's a picture-in-picture option in case you want to watch TV and keep and eye on what's happening in and around your home too. The cameras lack microSD card support for local storage, though; if you want to store video clips in the cloud (or receive object-specific detection alerts), you'll need to pay a subscription fee.

Roku hasn't announced pricing for the cameras as yet. They'll be available in the coming months and will join the likes of the Indoor Security Camera in Roku's lineup. The company also unveiled its latest streaming sticks and announced new TVs and feature updates at an event on Wednesday.

Jeff Dunn for Engadget

The Insta360 X5 ($550) is the company’s latest 8K 360 action camera and, while it remains a different proposition to traditional action cams, it is more powerful, more reliable and easier to use.

The X5 has a larger 1/1.28-inch sensor compared to the X4's 1/2-inch sensor, ensuring more detail and a notable boost to low-light performance. The issue with wide-angle camera capture is that detail gets lost, especially in low-lit settings. The specification upgrades this time around reduce that substantially, including up to 13.5 stops of dynamic range.

Over the years, I’ve tried to incorporate 360-degree cameras into my workflow, using them both on vacation or at events. However, a lot of the content I capture is either during the evening or in a dark venue, literally the main weakness of these kinds of cameras. In a bid to address those shooting conditions, Insta360 introduced a new PureVideo mode that with AI noise reduction and dynamic range optimization for clearer, brighter footage in low-light conditions. It’s not perfect, but it moves dim video from unusable to decent, if not outright good. With a 5nm AI chip and two imaging chips, the X5 can also now capture Active HDR on footage at up to 5.7K 60 fps.

Image by Mat Smith for Engadget

This chip array also reduces processing time. Insta360 doesn’t specify how much faster, but anecdotally, on-device processing and file transfers to my smartphone were noticeably faster. Videos are saved almost instantly onto the camera, while saving several short clips to my phone took around 30 seconds, compared to minutes on previous devices.

While the X5 doesn’t offer higher resolution video than its predecessor, it packs in even more shooting options, like InstaFrame, which is fast becoming my go-to shooting mode. InstaFrame can record a typical “flat” video and a 360-degree video at the same time. The notion is that this gives an “instantly shareable” flat video, with no reframing or heavy editing needed.

But when you do have to, Insta360’s companion smartphone app has been further improved, with some incredibly useful editing tools. You can re-edit 360-degree video to focus on the user, or force a single view. It’s all quite intuitive too, which is a trait that shouldn’t be ignored.

Image by Mat Smith for Engadget

The X5 an incredibly versatile tool, and there’s something to be said for a camera that can capture everything. However, in less favorable conditions (or when you’re not the camera person), you might prefer the simpler settings and shooting methods of a traditional action camera.

The X5 does perform better in lower light, but it doesn’t quite match the improvements we’ve seen in low-light smartphone photography in recent years. Despite my cautiously walking around in the late evening to capture low-light footage, there was a vibration after-effect as the camera struggled to stabilize the footage. This can be reduced by staying still, but even with PureVideo (which can also be a little too aggressive addressing noise), it’s not quite there yet. I will continue to test the camera and provide further impressions. Insta360 pushed a firmware update to the X5 hours before I published this story, adding 4K60fps recording in single-lens mode, and several resolution bumps across other recording modes.

Design-wise, you have to get up real close to tell the difference between the X5 and the X4. They’re largely the same size, although Insta360 has switched to a polygon effect on the front, with a panel for the mic (and a new mesh wind guard).

The battery compartment and microSD slot are secured with a double latch where the microSD slot lives, and are protected by solid covers with sliding locks. Both sides of the camera have a grippy texture, with record and mode buttons nestled under the screen.

With the same threaded mount, Insta360’s existing selfie sticks will work with its latest camera, although fast-chargers and cases won’t, due to hardware changes. The most important thing: Insta360’s bullet time effect is still here – if you have the right peripheral.

Most of the settings adjustments, like its predecessors, are found in pull-down menus from, well, pretty much every side of the screen. Swiping right will take you to the gallery, while manual camera options are a left swipe away. Toggles and lock settings are located in the dropdown menu. There’s a lot, but if you’ve used a smartphone, you should find the basic navigation familiar.

Image by Mat Smith for Engadget

There’s a whole list of smaller notable hardware improvements on the X5 compared to the predecessor, too:

• Scratch-resistant glass lenses —- which are replaceable

• Larger capacity battery that lasts up to 180 minutes

• Faster-charging battery (0 to 80 percent in 20 minutes)

• New built-in steel mesh wind guard

• IP68 waterproofing up to 49 feet

• Magnetic mounting system

• ‘Twist to shoot’ record feature, to initiate recording by twisting a connected selfie stick

The Insta360 X5 is now on sale, priced at $550, with an Essentials Bundle also available for $660. The bundle includes an extra battery, fast-charge case, “invisible” selfie stick, lens guards and a carry case. That’s $50 more than the Insta360 X4 was at launch. The improvements to both low-light performance and new shooting modes may be worth the price increase, but don’t expect crisp 4K (or 8K) video if light is an issue.

Competition in this category remains relatively limited. Ricoh continues its Theta series, with a similar camera form factor, but seems to focus on stills more than video, while GoPro’s Max 360 camera lacks features like traditional 4K video capture, let alone 8K recording. The best alternatives are arguably Insta360’s other 360 cameras, like last year’s X4.

While there are less major spec and design changes compared to last year, the Insta360 X5 is another step forward for this type of camera, both in terms of imaging and in simplifying how you share what you capture.

• Kin is an Idaho prix fixe restaurant with a work culture rooted in collaboration and equality.
• The business, owned by Kris Komori and Remi McManus, offers salaries to all full-time staff.
• This article is part of "Made to Order," a series highlighting the business strategies driving today's food industry.

At Kin's prix fixe restaurant, the menu changes every five weeks, and it's always a group project.

Having five or more staff members work together to brainstorm a tasting menu, divide up the cooking, and gather ingredients may seem like a recipe for disaster, but Kris Komori and Remi McManus, the co-owners of Kin, don't mind the challenge. Collaboration is integral to their restaurant, even if it requires some trial and error.

"We don't necessarily have general managers and things like that," McManus said. "We all work as an entity and as a unit."

This mindset even extends to how Komori and McManus tackle payroll and prioritize pay equality. The owners offer all full-time staff a salary with benefits like paid time off and health insurance. This differs from the typical restaurant model in which some staff receive the minimum wage for tipped workers, while mainly relying on optional gratuities.

In a rapidly changing industry known for burnout and top-down management, Kin's approach to work culture might be less common. But Komori, who's also Kin's head chef, said the Boise restaurant had always been an outlier.

"We're not trying to change an entire restaurant industry or even Boise itself, but we did know that we could create something a little bit different," Komori said.

Their efforts have paid off. In 2023, Komori won a James Beard Award, and in 2024, Food & Wine listed the restaurant as one of the top 20 restaurants in the country.

On separate calls, Komori and McManus spoke with Business Insider about how they foster employee well-being at Kin — and how other restaurants can adopt a better workplace culture, too.

This interview has been edited for length and clarity.

Business Insider: Tell me a bit about Kin's work environment. How do you try to set yourself apart when it comes to employee well-being?

Remi McManus: For years in the restaurant industry, there's been a big discrepancy in pay, especially from the front and back of the house. We try to develop equality through equal pay for all staff members. Our goals have been to develop more professionalism in the industry in Idaho and provide for our staff and our community more than we used to at my previous restaurant, State & Lemp.

Kris Komori: Part of the core competency of the business is connecting to our guests and community, but it's mostly about connecting with our crew. It's still long hours and stressful at times, but if we can have people be excited to come to work instead of dreading it, it's just a happier place to be.

How have you developed a sustainable business model that can account for having staff on salary?

McManus: It's important for employees to take ownership of their duties. This means engaging them in different responsibilities that play to their strengths and discussing things they would like to see done in the restaurant. We have a graphic designer who is a service staff member and helps us to do social media posts and graphic design for menus. We've had a bartender who moved on to be our full-time bookkeeper. We have individuals who have experiences outside the restaurant that we can utilize to change the dynamic of what this space really is. While most people see us as a restaurant, we see ourselves more as a community engagement center with food and beverage as the vehicle.

Komori: Since our tasting room is reservation-only, we know how many people are coming in and what their allergies or dietary restrictions are. Based on our capacity, we also know how much to order and prep. We can be efficient on the cost of goods and then put that into the payroll.

Why do you think a community-focused work culture is a less common approach in most kitchens and restaurants?

McManus: It's very expensive. Restaurants are fairly transient, and other owners don't potentially have the time or desire to invest as much into their employees. We're called Kin for many reasons, but one is because 100% of the staff that was with us at State & Lemp came over to Kin. It felt like we were a family creating a new establishment.

Komori: One reason why a lot of places don't do it is because you have to also get a lot of buy-in from the team in terms of rotating schedules, knowing that everyone deserves the time off. Sometimes that requires stepping in. If someone's on vacation, then everyone's got to pull a little bit more, but then you yourself go on vacation and the other people do that for you.

It's a compromise to staff saying you can have a career, sustainable finances, and days off in a restaurant. Because we have more people on staff, we can rotate schedules. As long as everyone has buy-in and supports each other, it works really well.

How does prioritizing collaboration and creativity help foster a more welcoming workplace?

McManus: Any employee wants to feel like they're valued at work. Because we are a small staff, we're able to engage with them on a day-to-day basis. Whether it be collaboration on a dish or activities outside the workplace, developing these intimate relationships is baked into our ethos.

When we come up with menu ideas, it's not necessarily just Kris or myself. Being able to rely on the individuals that have been here for years and also some of the new individuals for ideas is probably the best thing that we can do. People who have been doing something over and over and over again for years — they need new ideas. The collaboration process is probably one of the most effective things that we have in the restaurant right now.

Komori: Everyone that comes in here wants to create. What's cool about our tasting room is that it starts with one dish, but over time, the staff is creating dozens of dishes, and they start to notice their own style. They're also learning how to plan, order at a cost, and write a prep schedule. It's really important because probably a quarter of the kitchen will want to have their own place, or at least become a chef with their own team. It's a lot to change the menu, but it's also fun.

How can other chefs and owners adopt this workplace culture and sustain these practices?

McManus: We accept gratuities, but we use them to fund the salaries. I believe, in some larger cities, there are restaurants that have gone away from optional gratuities and just added them to the bill or increased the pricing so they can have a similar pay structure.

Komori: We're always wondering if the way that we're doing things is the best way to do it. You just have to be wanting to change. You ask your staff, "Hey, we want to try something to benefit the business and to benefit you. Are you willing to experiment with it?" And then you course-correct.

We have good retention, and our guests are happy to support a place trying to healthily and sustainably support its crew. So we get loyalty from customers, which stabilizes the revenue and helps sustain the system.

How do you think restaurants can be more than just places to eat and places to work for guests and staff?

McManus: It just comes down to culture. If you take the time and energy to learn more about the staff, have those conversations, communicate, and give ownership, then that shows in the staff members and that shows to the guests and community.

Komori: Partly the reason we're named Kin is not only because we try to be like a loose-knit group of people that really align with each other, but also we want to have a feel like we're inviting people into our home. Because of that, we know a lot about our regulars. Sometimes we feel like a restaurant, but other times, we're more than a restaurant — we just happen to have our product be food and beverage. If we're going to work so hard, we want to feel good about it, and just cooking for someone over and over and over behind a wall, you lose that connection.

With the A1, Sony was the first to introduce a high-resolution hybrid camera that was equally adept at stills and video — but boy was it expensive. Nikon and Canon followed that template with the R5 II and Z8 models that offered similar capabilities for less money, but those were still well north of $4,000.

Enter the S1R II. It’s Panasonic’s first camera that can not only shoot up to 8K video at the company’s usual high standards, but also capture 44-megapixel (MP) photos in rapid bursts. And unlike its rivals, the new model is available at a more reasonable $3,300 — half the price of Sony’s A1 II. At the same time, it’s a massive upgrade over the original S1R.

The main catch is the lack of a high-speed stacked sensor found in the other models, which can cause some skewing in both images and video. As I discovered, though, that tradeoff is well worth it for the lower price and picture quality that matches its competition. All of that makes the S1R II Panasonic’s best camera yet and a very tempting option in the high-resolution mirrorless category.

Design and handling

The S1R II is similar to other recent Panasonic models like the GH7 in terms of the design and control layout. It’s much lighter than the original S1R at 1.75 pounds compared to 2.24 pounds, so it’s less tiresome to carry around all day. As for handling, the massive grip has a ridge where your fingertips sit, making it nearly impossible to drop. The rubberized exterior is easy on the hands, though not quite as nice as the R5 II’s softer material.

I’ve always liked Panasonic’s controls and in that regard the S1R II may be the company’s best model yet. Along with a joystick and dials on the top front, top back and rear, it has lockable mode and burst shooting dials on top. You also get a dedicated button for photos, video and slow and quick (S&Q) modes, each with separate settings. There’s a dedicated autofocus switch, video record buttons both on top and front, a tally light and multiple programmable buttons.

The menu system is equally good, with logical color-coded menus and submenus. You can also rapidly find your most-used functions in the quick menu. All of that allowed me to shoot photos and video without fumbling for settings. You can also fully program buttons, dials and the quick menu to your own preferences.

Steve Dent for Engadget

The rear display is great for content creators and photographers alike. It tilts up and down to allow for easy overhead or shoot-from-the hip photography and also swivels out to the side so vloggers can conveniently film themselves. It’s very sharp and bright enough to use on sunny days. The electronic viewfinder is also excellent with 5.76 million dots of resolution and 100 percent magnification, matching Canon’s R5 II and beating the Nikon Z8.

Battery life isn’t a strong point, though, with 350 shots on a charge or just 280 when using the electronic viewfinder — far below the 640 shots allowed by the R5 II. It also only allows just over an hour of start-and-stop video shooting. However, Panasonic’s optional DMW-BG2 battery grip doubles endurance and also allows for battery hot-swapping.

The S1R II supports both SDXC UHS II and much faster CFexpress Type B cards, while also supporting SSD capture via the USB-C port like the S5 IIX and GH7. The latter two storage methods enable shooting in high-bandwidth RAW and ProRes to maximize quality.

Panasonic also included a full-sized HDMI port along with microphone and headphone jacks. For the best possible sound quality, the optional XLR2 accessory lets you capture four channels at up to 32-bit float quality to reduce the possibility of clipped audio. And finally, the S1R II is Panasonic’s first mirrorless model with a protective carbon fiber curtain that comes down to protect the sensor, just like recent Canon and Sony models.

Performance

Steve Dent for Engadget

Although the original S1R could only manage an anemic 6 fps burst speeds, its successor can hit 40 RAW images per second in silent electronic mode, beating all its rivals — though shooting at that speed limits quality to 12-bit RAW. To get 14-bit quality, you need to use the mechanical shutter for burst shooting which tops out at 9 fps.

However, the Panasonic S1R II doesn’t have a fast stacked sensor like rivals. The result is rolling shutter that can be a problem in some circumstances, like shooting race cars, propellers or golf swings. However, it does outperform many other non-stacked high-resolution cameras like Sony’s A7R V and Panasonic’s own S5 IIX in that area.

Pre-burst capture is now available and starts when you half-press the shutter. That lets you save up to 1.5 seconds of photos you might have otherwise missed once you fully press the shutter button.

With an overhauled phase-detect autofocus system and a new, faster processor, the S1R II features Panasonic’s fastest and smartest AF system yet. It can now lock onto a subject’s face and eyes quicker and follow their movements more smoothly, while also detecting and automatically switching between humans, animals, cars, motorcycles, bikes, trains and airplanes. I found it to be fast and generally reliable, but it’s still not quite up to Sony’s and Canon’s standards for speed and accuracy.

Panasonic boosted in-body stabilization to 8 stops. That’s nearly on par with rivals, though Canon leads the way with 8.5 stops on the R5 II. Still, it lets you freeze action at shutter speeds as low as a quarter second in case you want to blur waterfalls or moving cars when shooting handheld.

Image quality

Photo quality is outstanding with detail as good as rivals, though understandably short of Sony’s 61-megapixel A7R V. Colors are as accurate as I’ve seen on any recent camera, matching or even beating Canon’s excellent R5 II. My pro photographer friends took a number of shots with the S1R II and found it slightly superior to their Sony A1, noting that they rarely needed to white balance in post.

Thanks to the dual-ISO backside-illuminated sensor, low-light capability is excellent for a high-resolution camera, with noise well controlled up to ISO 12,800. Beyond that, grain becomes more problematic and shadows can take on a green cast. JPEG noise reduction does a good job retaining detail while suppressing noise, but gets overly aggressive above ISO 6,400.

If 44MP isn’t enough, the S1R II offers a high-resolution mode that captures eight images with a slightly offset sensor position and composes them into a single 177 megapixel file (either RAW or JPEG). It can supposedly be used without a tripod, though I found I had to remain very still to get decent images when doing so.

Video

The S1R II is Panasonic’s best mirrorless camera yet for video, albeit with some caveats I’ll discuss soon. You can capture up to 8K 30p 10-bit video at a reasonably high 300 Mbps, close to what Sony’s far more expensive A1 can do. Better still, it supports oversampled 5.8K ProRes RAW video internally with no crop for maximum dynamic range, or 4K video at up to 120 fps. Finally, the S1R II is capable of “open gate” 3:2 capture of the full sensor at up to 6.4K (and 8K down the road via a firmware update), making it easy to shoot all types of formats at once, including vertical video for social media.

Steve Dent for Engadget

Some of these resolutions, particularly the 5.9K 60 fps and 4K 120 fps modes come with a slight crop of about 1.1x and 1.04x, respectively. 4K 120 fps also uses pixel binning, which introduces a loss of resolution and other artifacts like rainbow-colored moire.

That takes us to the main downside: rolling shutter. The S1R II is actually a bit better than the S5 II in that regard, with a total readout speed of about 1/40th of a second, or about 25 milliseconds at any of the full sensor readout resolutions (8K or 5.8K). That can result in wobble or skew if you whip the camera around or film fast-moving objects. However, it’s acceptable for regular handheld shooting.

One complication is Panasonic’s dynamic range expansion (DRE) that boosts video dynamic range by a stop, mostly in an image's highlights. Enabling that feature makes rolling shutter worse.

Should you need to reduce rolling shutter, you can simply disable DRE without a big hit in quality. And shooting 4K at 60p minimizes rolling shutter so that it’s nearly on par with stacked sensor cameras, while still offering high-quality footage with just a slight crop.

As for video quality, it’s razor sharp and color rendition is accurate and pleasing. Dynamic range is on the high end of cameras I’ve tested at close to 14 stops when shooting with Panasonic’s V-log, allowing excellent shadow and highlight recovery, especially in DRE mode. It’s still very good without DRE though, particularly if you’re not shooting in bright and sunny conditions.

Steve Dent for Engadget

Video AF is also strong, keeping even quick-moving subjects in focus. Face, eye, animal and vehicle detection work well, though again, the system isn’t quite as reliable as what I saw on Sony and Canon’s latest models.

The S1R II offers more stabilization options than its rivals, though. Optical stabilization provides good results for handheld video, while electronic stabilization (EIS) smooths things further . Cranking that up to the most aggressive high EIS setting provides gimbal-like smoothness but introduces a significant 1.5x crop.

Along with those, Panasonic introduced something called “cropless” EIS. That setting takes advantage of unused areas of the sensor to correct corner distortion typical with wide angle lenses while also fixing skew. I found it worked very well to reduce rolling shutter even for quick pans and walking, which may help alleviate such concerns for some creators.

So yes, rolling shutter wobble is worse on this camera than rivals like the R5 II. However, there are ways to work around it. If minimal skewing is a critical feature then don’t buy the S1R II, but it shouldn’t be an issue for most users, particularly at this price.

Wrap-up

Steve Dent for Engadget

The S1R II is Panasonic’s best hybrid mirrorless camera to date, offering a great balance of photography and video powers. It’s also the cheapest new camera in the high-resolution hybrid full-frame category, undercutting rivals like Canon’s R5 II and the Nikon Z8.

The main downside is rolling shutter that primarily affects video. As I mentioned, though, it won’t pose a problem for many content creators and there are workarounds. Aside from that, it delivers outstanding photo and video quality while offering innovative features like cropless electronic stabilization.

If you need even more resolution, Sony’s 61MP A7R V offers slightly better image quality. And if rolling shutter is really an issue then I’d recommend Canon’s R5 II (though that model does cost $1,000 more) or the Nikon Z8. Should you want to spend considerably less, the Canon R6 II or even Panasonic’s S5 II or S5 IIx are solid picks. For other hybrid shooters, though, Panasonic’s S1R II is a great choice.

Smart security cameras can be a useful addition to your smart home setup, letting you keep an eye on things when you’re not around. Indoor units can show your dog sleeping on the couch and what’s going on in the playroom. Outdoor cams will notify you of unexpected movement in the backyard or when a package is delivered on your porch. Cameras can also serve as triggers for automations, like turning on lights when you get home.

Before you buy your first security camera, you’ll likely want to consider things like whether it’ll work with your other smart home devices, as well as how much (and how necessary) a monthly subscription is. Features like privacy settings, night vision capabilities and mounting options will also make a difference. We set up more than a dozen cameras in and around our homes, testing out the settings while filming our cats and family members for a few weeks. We found a few clear winners and also include our advice on what to consider so you can pick the best security camera for your home.

Table of contents 

• Best security cameras for 2025

• What to look for in a security camera

• Other security cameras we tested

• Security camera FAQs

Best security cameras for 2025

What to look for in a security camera

Hardware and design

One of the first things you’ll want to consider before buying a home security camera is where you intend to put it. Do you want an outdoor or indoor setup, or cameras that can work in both environments? That’s the first decision to make, since not all cameras are designed to be weatherproof. Next, consider where those cameras will live: do you need ones that can easily mount to the side of your home or above your garage? Do you want cameras in every room of your house, installed up in a ceiling corner out of reach? Should those cameras be able to swivel and turn on their own to track subjects or give you a wider field of view? If you just want to see packages on your porch or who's coming to the door, a doorbell camera might be a better option. 

Check the specifications for the cameras you’re considering to see if they come with any mounting hardware in the box, or if you’ll need special attachments to get the capabilities you want. For example, an extra feature like solar power for outdoor security cameras typically requires buying the solar panel separately, or buying a configuration of the camera that includes the panel in the box.

Another hardware component to consider is the proper connection for local storage. Many home security cameras give you the option to save footage locally by connecting a thumb drive or a microSD card either to the camera itself or to its base station. If you don’t intend on using cloud storage (which typically comes with a subscription cost), choosing a surveillance camera system that allows for local storage will be key.

Battery life

Battery life considerations will only apply to wireless cameras, so you’ll want to make note of the expected battery life of any wire-free camera you’re considering. For most that use rechargeable lithium-ion batteries, it will come down to how “busy” the camera will be on a regular basis recording video. Some could estimate a minimum battery life of a couple weeks to one month with high usage, but you could get even more than that if the camera is in a low-traffic area.

I personally think you should be getting at least three weeks of battery life out of any rechargeable-battery security camera — anything less and it becomes a hassle just to keep the device in working order. Also, be prepared to access your cameras (including those mounted in high places) whenever you need to recharge their batteries. Scant few options today (looking at you, Blink), run on AA or AAA batteries, and those tend to last up to two years before you need to replace them.

Audiovisual features

Nearly every security camera can send you a notification when it detects motion. Most also offer more sophisticated alerts, like person, package, pet and vehicle detection, though those sometimes require a subscription. You can decide under which conditions you’d like to be alerted as well. Many cameras will let you set location preferences, using your phone to discern where you are, so you’re only alerted when you’re away. Some can then be programmed to turn off completely when you’re home, or you can decide to keep the camera recording without alerting you of activity. Systems without location tracking can be armed on a schedule or manually turned on and off.

Almost every security camera can listen as well as see — some can send you an alert when specific sounds are detected, such as breaking glass, barking dogs or fire alarms. Those microphones also let you hear what’s going on in the room, while built-in speakers allow for two-way conversations.

If viewing events at night is important to you, you’ll want to consider a camera’s ability to see in the dark. Most use infrared LEDs to detect motion and record events after the sun goes down. Infrared will work in total darkness, but can only produce a black and white image. A few cameras can capture color video at night through a combination of larger sensors and onboard image processing, but they won’t work in total darkness. A couple of the options we tried were spotlight cams with an onboard light you can manually turn on to light up a space for a better picture. Floodlight cameras are another option for outdoor models, which shine a bright light when motion is detected which may act as a deterrence.  

Subscription features

Without exception, every camera we tested has an optional subscription component. These typically run between $3 and $15 per month, though some offer a discount if you pay for a year up front. Advanced (and sometimes basic) features are paywalled behind these subs, so if you’re looking for things like person detection, extended live feeds, cloud storage, event labeling and longer event history, you’ll want to check whether you get those for free or only if you pay up.

Cloud storage for video clips beyond a day or so is the most common subscription-only feature, but some cameras have the option of using local storage with a microSD card or flash drive. Cameras that work with Apple’s HomeKit will usually let you store clips using your iCloud+ plan, so you might not need a separate subscription for those. To help make sense of whether you need to pay for a plan or not, we detail the monthly prices and membership features for each pick below so you can gauge the full cost of the level of monitoring you want.

Privacy settings

The majority of security cameras use cloud storage for clips. Even those that store your footage locally on SD cards or USB drives are still considered Wi-Fi cameras, connecting to the world at large through your home internet. Anything that’s in communication with other networks has the potential to be accessed by bad actors. Manufacturers take measures such as encrypting video before it’s sent to the cloud and requiring two-factor authentication to sign into any account to make systems safer. Users can go one step further by regularly installing security updates and making sure the passwords they use are strong and not reused elsewhere.

As for keeping your personal activity private, all cameras have a disarm feature, but some can automatically turn off when you are home if you share your location. Others will also let you set privacy zones and won’t capture footage or send alerts for movements in designated areas. That could be a part of the house you don’t want recorded or, for outdoor coverage, parts of your neighbor’s yard or driveway.

All the units we tested have indicator lights that turn on when a live view is being accessed or recording is taking place. But you’ll have to check what your particular camera’s LEDs mean, as nearly every one is different. Recording in progress is sometimes indicated with a red light, sometimes that light is blue, and on other cameras, it’s green. Some security cameras let you disable the recording light too, if you don’t want to alert would-be intruders that you’re watching them.

Compatibility

If this is your first foray into smart home gear, you just need to ensure that the camera you buy will work with your phone — and all of our top picks here have apps that work with both iOS and Android. If you already have TVs, smart monitors, home hubs, doorbells and other smart devices, check that what you buy now will work with what you already have if you want the most seamless system.

We’ve listed which of the three major smart home ecosystems each of our picks will work with, but in general, Amazon Alexa has the widest compatibility with third party brands, followed by Google. Apple’s HomeKit has a smaller number of compatible cameras on the market, but the list is still sizable enough and includes well-regarded brands like Ecobee, Logitech and Aqara, so you’ll likely be able to find one with the features you want.

Other security cameras we tested

Logitech Circle View Apple HomeKit-Enabled

We called out the Logitech Circle View camera as a HomeKit-enabled alternative to our top Siri pick, the Ecobee cam but it’s worth mentioning its merits once more. The Circle View works well with Apple’s smart home system and connected easily with my HomePod. Like with Ecobee, you may not need to pay for an additional subscription for cloud storage if you already have an iCloud+ plan. The video captured is warm and sharp. But it’s pricier than Ecobee’s HomeKit option and the web cam-aesthetic isn’t particularly elegant.

Roku Indoor Security Camera

While we don’t love that the Roku Indoor Security Camera uses a micro USB connection, the unit itself has a solid build. It can spin in either direction to track movement, either automatically or manually through the app. It’s easy to set up and is remarkably affordable. A subscription is required for clip storage and event filtering. Without it, the camera will only store stills from detection events, though you can easily manually save clips to your photos library from within the app. The color night vision is surprisingly clear, and the daytime recordings are bright and sharp. While other cameras we tested simply offered more features and better apps, this could be a compelling budget pick.

Aqara 2K Hub G3

If you ask a seven-year-old which camera is best (and we did) they will tell you it’s the Aqara 2K Hub G3, thanks to the unit’s cute little ears. We tested it with its own app, which worked well, and with HomeKit, which unfortunately kept disconnecting throughout our testing. The camera was easy and quick to set up thanks to the dual-bank Wi-Fi connection. We also appreciated the privacy setting that physically angled the camera lens down inside the unit (revealing a pair of shut-eye images that added to the adorableness). If you’re considering getting other Aqara smart home devices, and will primarily use the Aqara app, the Hub H3 is a good buy as it acts as the required hub for other devices from the brand.

Ring Indoor Cam (wired)

The Blink camera was simply a better value than the Ring Indoor Cam. The Ring unit felt overly lightweight and insubstantial, to the point where its own cable caused it to fall over. Set up was a little fussy and many of the available features are reserved for paid subscriptions. But the app helpfully leads you through setup and walks you through the various features, making it good for beginners. You’re also automatically opted into the Ring Neighbors app which is a fascinating glimpse into your neighborhood’s porch piracy events, lost cats, wild animal sightings and missing binky alerts.

Ring Outdoor Cam (Stick Up Cam, wireless)

Similarly to the Indoor Cam, the Ring Outdoor Cam was easy to set up and could be a decent option for beginners. Previously known as the Stick Up Cam, this model is wireless and rechargeable, but our biggest gripe with it is that it powers up via microUSB. USB-C is the standard now, so we recommend only buying new tech that supports the latest standard whenever possible. It’s worth noting that the new Ring Outdoor Cam Plus also charges via microUSB, so it seems Ring faithfuls may be stuck with old tech for a while longer.

Security camera FAQs

Is it better to have wired or wireless security cameras?

Wired security cameras are hardwired directly to the system’s local video storage, such as a digital video recorder (DVR) or a network video recorder (NVR) connected via Ethernet cables. That makes it more secure and not subject to the whims of Wi-Fi connections. But running the power and Ethernet cables to the camera require more intensive installation, possibly requiring a professional. Wireless cameras or plug-in cameras give you more flexibility in the installation process and location. Though a local, wired connection is less susceptible to remote hacking, most current wireless cameras implement fairly strong security measures — but you’ll still want to make sure you choose complex passwords and turn on safety measures like two-factor authentication.

What do security camera subscriptions look like?

Subscriptions for security cameras usually run between $3 and $15 per month, though you can often get a discount if you pay for a year of service up-front. They give you access to advanced (and sometimes basic) features such as person detection, cloud storage, live feeds and intelligent labelling of events.

What security system does not require a monthly fee?

Excluding cameras from home security system companies like ADT and Slomins, nearly all DIY security cameras will work on a basic level without a subscription, meaning you can usually get motion-triggered alerts and the ability to see at least a short history of recorded action. Some cameras, such as the Blink Mini, offer no cloud storage without a subscription, but you can still see a live feed and you can opt for local footage storage with additional equipment.

How do you install a security camera?

Installing a security camera can be as simple as setting it on a table, plugging it in and using the app to connect to your home’s Wi-Fi. Indoor cameras often come with user-installable wall mounts as well. Wireless outdoor security cameras are sometimes battery-operated, so you don’t need to install them near an outlet and they often come with mounting brackets for attaching them to outdoor surfaces. Larger security systems with hardwired cameras may require professional installation.

Do security cameras record sound?

Every security camera we tested records sound as well as video. You can turn sound recording on or off at your leisure.

Do security cameras work with existing surveillance systems?

Some do. The easiest way to ensure that your camera will work with your other surveillance equipment is to get devices from the same brand.

Do wireless security cameras work without Wi-Fi?

Most wireless home security cameras connect via Wi-Fi. However, some cameras have the option of connecting through a cellular data plan. Of course, there’s an additional cost for such connectivity, but it allows the cameras to record if the Wi-Fi goes out or if a camera is too far from home to get a signal from the router.

When you set up a new camera, or even go to take a picture on some smartphones, you’re presented with a key choice: JPG or RAW?

JPGs are ready to post just about anywhere, while RAWs yield an unfinished file filled with extra data that allows for much richer post-processing. That option for a RAW file (and even the generic name, RAW) has been standardized across the camera industry — but despite that, the camera world has never actually settled on one standardized RAW format.

Most cameras capture RAW files in proprietary formats, like Canon’s CR3, Nikon’s NEF, and Sony’s ARW. The result is a world of compatibility issues. Photo editing software needs to specifically support not just each manufacturer’s file type but also make changes for each new camera that shoots it. That creates pain for app developers and early camera adopters who want to know that their preferred software will just work.

Adobe tried to solve this problem years ago with a universal RAW format, DNG (Digital Negative), which it open-sourced for anyone to use. A handful of camera manufacturers have since adopted DNG as their RAW format. But the largest names in the space still use their own proprie …

Read the full story at The Verge.

After years of lagging behind rivals when it comes to video capture (and then suddenly buying cinema camera manufacturer RED), Nikon is pushing new boundaries in that area. Its latest salvo is the $1,699 24-megapixel full-frame Z5 II, perhaps the cheapest mirrorless camera so far to support internal RAW video. It also offers improved autofocus with new AI powers, cleaner images and enhanced image stabilization. 

The Z5 II is a wholesale remake of the original Z5 and that starts with video. While still limited to 4K 30 fps and cropped 4K 60 fps, it can now capture those formats internally using the company's 12-bit N-RAW format with N-log, along with 10-bit H.265 and 8-bit H.264. Interestingly, it will record in N-RAW to SDXC UHS-II cards, since the camera lacks high-speed CFexpress slots. That likely means you'll need to buy very fast (and expensive) cards and that the N-RAW video will be highly compressed. Still, it's a feature available on no other camera in this price range. 

Nikon

Nikon is also promising much-improved autofocus bolstered by a new image-processing engine and tech borrowed from its high-end Z9 and Z8 models. The Z5 II can now lock onto subjects more quickly, particularly human eyes, faces and bodies, and works in lower light down to -10 EV, compared to -3 EV before. Meanwhile, the AI system can detect up to nine subject types ranging from animals (including a Bird Detection mode) to bicycles. When working in Auto-Area AF, these subjects can be detected, focused on, and tracked automatically. 

Native ISOs have been boosted to 100-64000 (50-204,800 in expanded modes), up from a maximum 51,200 before. That should improve noise levels across the ISO ranges, the company said. However, resolution is still limited to 24 megapixels. 

Nikon

In-body stabilization has been boosted to 7.5 stops with supported lenses, way up from five stops on the Z5. That's paired with electronic stabilization designed to keep handheld video steady. 

The Z5 II's viewfinder still offers a decent 3.69-million dots of resolution, but brightness has been boosted to 3,000 nits with 13 levels of brightness control. And it now comes with a 1.7-million-dot vari-angle display that's a big improvement from the previous model's tilt-only screen. The body now has a deeper grip to improve handling and comes with a one-touch Picture Control button for previewing and switching between color profiles in real time, matching a recent trend started by Fujifilm's X100 VI.

Other features including dual SD UHS-II card slots, 3.5mm headphone and mic jacks, camera to cloud connectivity via Nikon's Imaging Cloud and a new weather-proof build "on par with the Z6 III," according to Nikon. 

The Z5 II looks to be an impressive hybrid full-frame camera for the money and rivals Sony and Canon don't really have anything in the same price range that can match it. However, it also comes at a price $300 higher than the Z5 was at launch. Still, it could tempt filmmakers and others away from similarly priced crop sensor cameras from the likes of Fujifilm and Sony. The Z5 II is now on pre-order for $1,699 (body only) or $1,999 with a 24-50mm f/4-6.3 kit lens.