DJI Avata 360 and Osmo 360 II earn their places in the same travel kit by filming different parts of the day. Use Avata 360 to establish the destination and its surroundings. Use Osmo 360 II to stay with the people, activity and small moments after the aircraft lands.
The creative advantage is being able to choose the viewing direction from both aerial and ground 360° recordings. The work is deciding what each shot contributes, then joining those choices into one clear story.
The finished film in this tutorial is a 45-second flat video. Capture in 360°, then reframe for 16:9 or 9:16. An interactive 360° or VR delivery needs a different finishing workflow.
Workflow, compatibility and Bundle contents checked 26 October 2026. Prices are CAD before tax. The storyboard and timings are editorial planning examples; no SpeedyDrone field test or completed client film is claimed.
Plan your two-camera story
Why Pair Two 360 Cameras?
Aerial footage can answer “Where are we?” A ground camera can answer “What did it feel like to be there?” A film made only from wide aerial views may leave the travellers anonymous. A film made only at walking height may never explain how the trail, lake and surrounding landscape fit together.
Avata 360 changes the camera's actual position through the air. Osmo 360 II can capture a wide surrounding view from the ground, including stick-mounted perspectives, but cannot reproduce a remote aerial route simply by reframing. For that distinction, see our Osmo 360 II drone-like shots guide.
Pair them when the story needs both positions. The reason to own two 360 devices is the coverage they provide—not a requirement to use every camera on every trip.
What Should Each Camera Capture?
Assign the shots before packing. Give Avata 360 the geography and give Osmo 360 II the arrival, movement and interaction. Keep a recognisable landmark in mind so the change in camera height still feels like the same place.
On a phone, scroll sideways to compare camera roles.
| Story requirement | Avata 360 | Osmo 360 II |
|---|---|---|
| Destination context | Aerial overview and planned movement that reveal the setting. | Arrival and ground-level surroundings that introduce the travellers. |
| Activity | A separate, safely planned view when flight adds useful context. | Walking, pauses, reactions and everyday interactions. |
| Close human moments | Flight constraints limit where and how the aircraft can operate. | Use a considerate ground position; check faces and hands near stitch areas. |
| Reframing | Choose the viewer's direction from the recorded aerial panorama. | Choose the viewer's direction from the recorded ground panorama. |
| What it cannot fix | Reframing cannot change the aircraft's recorded route or grant flying permission. | Reframing cannot move the camera to a distant aerial position. |
Film sequentially if you are working alone: land and secure the aircraft before switching to handheld filming. A second camera operator can cover the ground action while a dedicated pilot handles the flight.
For a Canadian shoot, check the applicable pilot, registration, airspace and site requirements through Transport Canada's current guidance. This plan assumes an authorised location and a lawful visual-line-of-sight flight. If flight is unsuitable, build a ground-only story rather than forcing an aerial shot.
From a weekend to a finished cut
A Complete 45-Second Travel Film Plan
Imagine two friends visiting a lakeside trail. The film starts with the place, follows their arrival and walk, makes room for a shared pause, then returns to the wider landscape. The following images illustrate intended compositions at a fictional location.
A weekend trip in 360°
Four composition studies; the ten-shot list below supplies the complete edit.
AI-assisted planning illustrations, not footage from either camera or evidence of an approved filming location.
- PlaceAvata 360
- ArrivalOsmo 360 II
- ActivityOsmo 360 II
- People & detailsOsmo 360 II
- Return wideAvata 360
Finished-film timing only. These blocks do not specify flight duration or require filming in edit order.
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00–04sA1Avata 360Establish the place
A broad lake-and-shore view. Give the viewer time to understand the destination before adding movement.
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04–08sA2Avata 360Point toward the next scene
Use a controlled segment of the planned aerial pass. End with the shore path as the visual anchor for the arrival cut.
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08–11sG1Osmo 360 IIArrive
Show the travellers stepping away from a parked vehicle. Reframe toward the people, not the empty space around them.
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11–15sG2Osmo 360 IIEnter the route
Let the pair walk into the trail. Keep the intended on-screen direction consistent with the next shot.
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15–21sG3Osmo 360 IIFollow the activity
Record a steady walking segment. Choose one useful viewing direction in the edit rather than rotating around the full sphere.
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21–26sG4Osmo 360 IIShow a reaction
Select a different moment or viewpoint: a look toward the water, a pause or a shared reaction. Avoid a near-identical repeat of G3.
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26–30sG5Osmo 360 IIInclude the people
Capture a brief exchange or the friends settling beside their bags. Leave breathing room around faces and hands.
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30–34sG6Osmo 360 IIAdd a useful detail
Show a backpack being set down or a hand opening a flask. Check the stitched result before relying on close detail.
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34–37sG7Osmo 360 IILet the place breathe
Hold a quiet view of the people and lake. Let ground ambience continue into the next picture cut.
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37–45sA3Avata 360Close with context
Return to a wider aerial perspective that connects the activity to its setting. This can be recorded during an earlier planned flight.
Record a little clean time before and after the useful action so the editor can choose the cut. The aerial bookends can come from the same planned flying session if the required views are available safely; you do not need to take off again just because the ending appears last.
Two sources, one intentional edit
How to Edit Aerial and Ground 360 Footage Together
Keep originals separate; join selected shots
Create dated folders for each camera and retain the original files. Label selects with shot IDs such as A1 and G1. Before the trip, test one clip from each device through your actual software and final aspect ratio.
A practical route is to reframe each camera's clips in a supported application, export flat selects, then assemble those selects in your video editor. This avoids assuming that two spherical source formats, app versions or camera profiles will behave identically in one project.
From two 360° sources to one travel film
A flat-video handoff, with original panoramic files retained for later reframing.
Back up originals → reframe selected shots
Quick phone route: DJI Fly
Flat aerial selects
Keep A1 / A2 / A3 identifiable.
Back up originals → reframe selected shots
DJI Mimo or supported DJI Studio
Flat ground selects
Keep G1–G7 identifiable.
Assemble → refine picture cuts → balance colour → mix sound
Match the viewer's direction at the cut
Use the shore path from A2 to lead into G1, then keep walking direction consistent from G2 to G3. The numbers on a virtual pan are less useful than the actual picture: each camera may start from a different orientation. Match a landmark and the subject's on-screen movement rather than copying identical yaw values.
Choose a restrained view for most shots. Reframing every clip through a large rotation can make the film restless, especially after an aerial move. A fixed ground composition often gives the viewer a welcome reference point.
Make colour and sound continuous
For a first project, choose a consistent, manageable colour workflow and shoot the linked scenes in similar light. Balance exposure and white balance between the aerial view and the ground sequence. If using Log footage, apply the appropriate model-specific processing; sharing a profile name does not guarantee a match, and one camera's LUT should not be assumed correct for the other.
Record useful ground ambience and check dialogue before leaving. Carry that ambience across a picture cut where it helps connect the place. Use licensed music if needed, and listen for sudden changes in loudness between scenes.
Reframe again for the second aspect ratio
A 9:16 version needs its own framing decisions. Return to the panoramic originals when the wide export leaves a person or landmark outside the vertical crop. An 8K spherical recording is not a guarantee of an 8K flat crop or equally strong compositions in every shape.
For the detailed camera-specific steps, use our Avata 360 editing guide and Osmo 360 II editing guide.
What's in the All-Around Explorer Bundle?
The current All-Around Explorer Bundle pairs your selected Avata 360 Fly More package with Osmo 360 II Adventure Combo. Both versions were listed at C$2,750.98 on 26 October 2026, before tax. Choose by control setup rather than expecting a price difference between these two current options.
All-Around Explorer — Motion Fly More
View the Motion version at SpeedyDrone →
All-Around Explorer — RC 2 Fly More
View the RC 2 version at SpeedyDrone →The extra FPV Remote Controller 3 still needs compatible Goggles 3 or Goggles N3. The Motion version supplies N3; the RC 2 version does not. RC 2 is a screen-based control route, not a way to use the added FPV controller without goggles. DJI also states that Avata 360 does not combine RC 2 with Goggles in the same control setup. See the Avata 360 beginner guide for control compatibility and panoramic editing.
DJI Osmo 360 II Adventure Combo
View the included Osmo package at SpeedyDrone →Shared additions in either version
- Osmo 360 II Adventure Combo.
- DJI FPV Remote Controller 3.
- One 128GB microSD card in total.
- Avata 360 hard-shell case, propeller guard and landing gear.
- A DJI Mini 2 SE gift, which is a separate conventional camera drone—not a third 360° device.
Plan storage and audio before departure
One included card does not mean one card for each camera. Both devices offer internal storage, but check available space and your recording plan before the shoot. Prepare and test the media each body will use, and offload it into the correct camera folder. Do not remove or swap a card during recording.
A wireless microphone kit is not listed among the Bundle additions. If spoken dialogue is central to your film, check the appropriate microphone setup separately. Allow for a suitable charging arrangement and whatever computer or phone you will use to process the footage.
Is This Bundle Worth Buying?
Travel vloggers: it fits a plan that genuinely needs location context plus people and activity. The handheld camera lets the story continue after the flight ends.
Outdoor creators: it is useful when you can manage the flight, ground coverage, storage and editing as separate jobs. The shot list helps avoid carrying two cameras only to return with repeated wide views.
Casual travellers or existing owners: one camera may be enough. If your trips rarely allow flying, or you already own a suitable ground camera, check the extra value of the actual contents before buying the full Bundle. More equipment also means more files and decisions.
There is no tested time-saving or complete component-savings claim here. The buying decision is whether the two camera positions, selected control package and included accessories match the films you expect to make.
Final Recommendation
Choose the pairing when you can name the aerial shots and the ground moments your story needs. Start with one destination, one 45-second edit and a short shot list. Make every switch in camera height explain something new.
Plan the story. Then choose the kit.
Explore the All-Around Explorer Bundle and choose the Motion or RC 2 version around how you intend to fly and film.
View the All-Around Explorer Bundle
