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GoPro Mission 1 ILS: Action Cam or Mirrorless? & 11 More NAB 2026 Best of Show Picks – CineD Focus Check ep114

April 30^th, 20261

by Felix TappeinerApril 30^th, 2026

Episode 114 of the Focus Check podcast is a deep dive into the products that stood out at NAB 2026. Nino and Johnnie go through all eleven CineD Best of Show award categories — twelve winners in total, since two categories received dual awards — covering cameras, lenses, lights, monitors, audio, power, storage, and post-production tools. The episode also rounds up several significant non-NAB releases from DJI and ARRI that landed during the same week. A prevalent topic was: Is the GoPro Mission 1 ILS an action cam or a mirrorless camera, or something new altogether?

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Kinefinity Vista teased at NAB 2026 – sub-$3,000 compact cinema camera

(03:31 in the episode)

The Kinefinity Vista earned a CineD Best of Show award as one of the most surprising camera announcements at the show. Johnnie explains that Kinefinity has been developing this camera for at least three years, and the direction toward compact cinema cameras was already hinted at in earlier conversations with the company. The Vista is not yet an official announcement — more of a very public tease — but it generated enormous excitement on the show floor.

The camera is described as a “personal cinema camera,” offering 6K Open Gate, ProRes 422 HQ, and H.265 recording to a single CFexpress Type B card. The company claims 90% of the feature set of its larger Mavo line lives inside this body, which is remarkable given how small it is. Power draw is just 7 watts, enabling a claimed three-hour runtime on a single NPF battery housed inside the body. A small vent is included to manage heat despite the low consumption. Internal ProRes RAW recording has been discussed internally but will not be present at launch.

Kinefinity Vista camera. Image credit: CineD

The camera has no IBIS and no autofocus, which Johnnie notes limits its appeal to the influencer and YouTube market the company also hopes to reach. The positioning as a cinema-only tool — no photo function, no electronic lens communication — is nonetheless seen as a coherent strategy for a company that has never made a photo camera. Nino and Johnnie stress that improved distribution will be critical for Kinefinity to turn excitement into real market traction. An official debut is expected at Cinegear. Pricing is rumored at under $3,000, though this figure is unofficial.

GoPro Mission 1 series – interchangeable MFT mount action camera

(14:07 in the episode)

GoPro’s Mission 1 series is the second Best of Show camera winner and arguably the most category-defying product at the show. GoPro itself positions it as a fourth category — not an action camera, not a mirrorless camera — and Nino largely agrees, particularly regarding the Mission 1 Pro ILS (Interchangeable Lens System) variant. The ILS replaces the fixed lens with a Micro Four Thirds mount, opening up a wide ecosystem of small manual lenses including pancake primes and C-mount adapters.

Important caveats apply: only fully manual lenses work on the MFT mount. Electronic lenses — former Olympus or Panasonic glass with built-in aperture control and autofocus — will not function. The camera is not waterproof (though weather-sealed when a lens is mounted), and it lacks autofocus and IBIS, relying on digital stabilization. The sensor is a one-inch chip with a 2.7x crop factor (3x with stabilization active), which Nino notes makes it interesting for telephoto and wildlife work. The camera shoots 4K 60p with up to 240fps in Full HD, 10-bit log, at up to 240 Mbps, and outputs 4K 60 8-bit HDMI for monitoring.

GoPro Mission 1 Pro ILS with lens. Image credit: CineD

The standard Mission 1 Pro with fixed lens and the Mission 1 Pro ILS share the same internals and price point of around $700, but the ILS variant ships later in the year. Nino sees particular potential for FPV drone operators who have been limited to fisheye fields of view, and for car shoots where multiple compact cameras at different focal lengths are needed. Both hosts agree the ILS will struggle as a mirrorless replacement but excel in niche applications where size, flexibility, and GoPro’s mount ecosystem matter.

Radiant Images Meridian 4D volume stage – bullet time meets volumetric video

(28:59 in the episode)

The Radiant Images Meridian 4D volume stage received a Best of Show award for its demonstration of next-generation volumetric video capture using 24 iPhones combined with Gaussian splatting. The concept builds on the classic bullet-time effect but adds actual motion: a large array of cameras surrounds a subject in a studio, capturing synchronized footage from every angle, and the in-between frames are interpolated so the viewer can move through the video in three dimensions.

A second video on a similar system from 4DVAI — using Opspot PTZ-R cameras, each powered and connected over a single Ethernet cable — also demonstrated the technology with actual motion picture rather than stills alone. The Radiant Images demonstration at NAB was for volumetric photos, while the 4DVAI system showed full motion capability. Both companies received significant interest from Netflix and other streaming platforms at the show.

Radient Images got one of our CineD Best-of-Show Awards at NAB 2026. Image credit: CineD

Nino and Johnnie discuss the breadth of applications: virtual production (replacing stadium extras with captured performances), VR content for headsets like the Vision Pro, and computer game asset creation. The hosts note that processing power has now caught up with the data demands of these systems, which is why the technology is gaining traction. The iPhone-based demonstration illustrates that consumer-grade cameras are now sufficient for serious volumetric capture work.

Fujinon GF 32-90mm T3.5 PZ OIS WR – first zoom for large-format cinema

(35:06 in the episode)

The lenses category produced two winners. The first is the Fujinon GF 32-90mm T3.5 PZ OIS WR, which Johnnie describes as currently the only zoom lens covering large-format sensors in the GFX line. At a full-frame equivalent of approximately 25–71mm, it functions as a standard zoom for the GFX system. The lens features internal optical stabilization, a power zoom motor, and autofocus — a combination that makes it well-suited to broadcast-style applications on a very large sensor.

The aperture of T3.5 throughout the zoom range is a compromise driven by size and weight; a faster aperture would have made the lens significantly larger. At $6,000, the hosts acknowledge it is expensive but argue the price is justified given the feature set and the absence of competition in this specific segment. Johnnie expresses hope that Fujifilm will expand the line with wider and longer zoom options to complement this standard zoom anchor.

DZOFILM Arcana anamorphic prime lenses – 1.5x squeeze with a 2x bokeh character

(39:19 in the episode)

The second lens award went to the DZOFILM Arcana anamorphic prime set: a trio of 32mm, 45mm, and 75mm primes with a 1.5x squeeze ratio and T2.1 aperture. Weighing between 690 and 710 grams depending on the focal length, the lenses are compact for anamorphics. DZOFILM claims the optical rendering delivers bokeh character closer to a 1.8x or 2x squeeze despite the 1.5x squeeze ratio — a claim that Nino and Johnnie note will need to be verified in a proper optical test. The set is priced between $690 and $710 per lens.

Nanlux Evoke 5C – pocketable point source light with a full modifier ecosystem

(40:47 in the episode)

The Nanlux Evoke 5C is the Best of Show winner in the lighting category, and Nino describes it as potentially one of Nanlux’s best-selling products ever. The light is genuinely pocket-sized — small enough to fit in the palm of a hand — with a native 20-degree beam, magnetic modifier attachment, and a full ecosystem of accessories including Fresnels and gobos. It is a hard point source, which Nino emphasizes is unusual at this size: most palm-sized lights are soft sources, and the principle that hard light can always be softened but not the reverse makes the Evoke 5C’s starting point particularly flexible.

The light runs on a built-in battery for 15 minutes at full output, or up to 4.5 hours with the optional battery grip. It is app-controllable via Nanlux’s platform. CRI and TLCI ratings are both 98. A single unit costs $265; a full kit with eight lights and multiple modifiers is under $3,000. The lights were first shown privately at BSC in London, where Nino and Johnnie were asked not to report on them — making the official NAB launch a welcome release of that restraint.

Atomos Sumo PRO 19 and CEO Peter Barber on rebuilding the brand

(44:45 in the episode)

Atomos received a Best of Show award for the Sumo PRO 19, a ground-up redesign of their flagship monitor. The 19-inch 4K HDR panel delivers 1,200 nits, supports NDI, four ISO plus one program record channels, camera control over Canon, Fujifilm, Nikon, Panasonic, and Sony, and cloud upload to Atomosphere, Frame.io, and Dropbox — all at a retail price of around $2,800–$2,900.

Johnnie’s interview with CEO Peter Barber, one of the founders of Blackmagic Design, is described as the more significant content. Barber took over Atomos roughly a year ago when the company was in poor shape and has been focused on stabilizing operations and refocusing on core competencies. He was open about past missteps, including the expansion into audio and other non-monitor product categories, explaining that bridging products were needed to generate revenue while the core roadmap was rebuilt. The strategy is now clear: monitors and recorders, anchored by the recent acquisition of Flanders Scientific (FSI).

Nino sees the FSI acquisition as strategically brilliant. FSI reference monitors are well-known in the US but lack distribution elsewhere; Atomos’s global footprint can change that. The gap between the $3,000 Sumo PRO 19 and FSI’s entry-level monitors starting at around $9,000–$10,000 leaves significant room for new mid-range products. Both hosts encourage viewers to watch the full interview as a snapshot of a company in genuine recovery.

Hollyland SolidCom H1 – enterprise-scale wireless intercom

(52:49 in the episode)

In the audio category, Hollyland’s SolidCom H1 received the Best of Show award. It is the company’s most ambitious intercom system to date, targeting broadcast, theater, and large-scale live events. The system supports up to 80 belt packs on a single base station, 16 listen routes per pack accessible via four physical keys without menu navigation, 500 meters line-of-sight range, eight RF antennas, web-based configuration, and charger-based auto pairing. Hollyland positions this at roughly 50% of the price of competing Clearcom and Riedel systems.

The hosts note this is a category that tends to go unnoticed in filmmaking media, but Hollyland intercoms are already widely used in productions. This system extends that reach into large-venue professional territory.

Core SWX × Mondobytes PowerVault – modular multi-format charging case

(55:50 in the episode)

The power category award went to the Core SWX × Mondobytes PowerVault, a collaborative product developed with filmmaker and YouTuber Armando Ferreira. The case provides five hot-swap bays with magnetic swap adapters covering V-mount, G-mount, Snap, BPU, FZ100, L-series, BPA, LP-E6, BLK22, AA, AAA, and 9-volt battery formats in a single portable case. An app monitors all battery states simultaneously.

The standout feature is power sharing mode: the top three bays can feed the lower two, allowing a charged V-mount to charge a BPU in the field without an external power source. Nino commends Core SWX for being willing to collaborate with a creator on a product that solves a genuine production problem in a category — batteries — that is notoriously difficult to make interesting.

iodyne Pro Mini – RAID-6 pocket SSD with ePaper label and passkey unlock

(59:27 in the episode)

The storage category Best of Show went to the iodyne Pro Mini, a pocket SSD that goes far beyond typical drives. The ePaper digital label on the front can display whatever the user wants — including a QR code that links directly to the drive’s contents — solving the common production problem of unlabeled or mislabeled drives. Passkey unlock via NFC means access can be granted to specific people (or a whole team) and denied to anyone else, a critical feature for productions handling NDA material or sensitive unreleased footage. Apple Find My and Google Find My are both built in for physical tracking during shipping.

Internally, the drive runs hardware RAID 6 across its NAND chips, and sustained transfer speeds exceed 3 GB/s thanks to air jet solid-state cooling — an ultrathin airflow system with no moving parts and no noise. Nino’s interview with co-president Mike Shapiro also covers the macro picture of storage pricing amid AI data center demand. Pricing is $1,500 for 4TB and $2,200 for 8TB. The hosts acknowledge this is expensive compared to commodity SSDs but argue the comparison is inappropriate given the security and sustained-performance feature set. Future firmware updates are planned to add new functionality over time.

XLCS Killdozer – weatherproof CNC cage for extreme environments

(01:05:15 in the episode)

A brief but notable Best of Show mention goes to the XLCS Designs Killdozer, a weather-sealed CNC machined cage system currently available for the Pixis 6K and Nikon ZR. It is designed for extreme-use scenarios where cameras need full protection against the elements while remaining fully operational. The cage offers extensive mounting points and a near-indestructible form factor. Nino highlights the warmth of the people behind the product as part of what made it stand out at the show.

Adobe Premiere color mode – a rebuilt color grading experience for editors

(01:06:37 in the episode)

In the post-production category, Adobe earned a Best of Show award for the redesigned color mode in Premiere Pro 2026, currently in public beta. Rather than adding a color panel bolted onto an editing interface, Adobe rebuilt the color experience from the ground up with editors specifically in mind — people who need to grade their own work without a dedicated colorist. The award, as Nino clarifies, is for the design philosophy rather than a specific feature list.

The episode also briefly notes two related Adobe announcements: a new Firefly platform consolidating their AI tools (covered in a separate CineD video), and Frame.io Drive, which mounts remote project storage as a local drive — making cloud-based assets feel local without full download. Nino acknowledges the color mode beta is not yet stable in his testing but is enthusiastic about the direction.

Pixboom Spark ships in May – 12-bit RAW and ProRes RAW added

(01:09:51 in the episode)

The Pixboom Spark high-speed camera is shipping to Kickstarter backers in May, and two major feature additions were revealed during the NAB interview: 12-bit RAW recording and internal ProRes RAW. The 12-bit mode pushes dynamic range past 13 stops according to the company, though it roughly halves the maximum frame rate compared to 10-bit. ProRes RAW recording is unrestricted by resolution, frame rate, or bit depth — covering any custom resolution up to the full 4.6K open gate — and files write directly to the Pixboom Pro card, compatible with Final Cut Pro and DaVinci Resolve without transcoding.

Nino and Johnnie discuss the broader commercial picture: the camera occupies a niche with no direct competition, and the team has been closely responsive to community feedback throughout development. The hosts also note that rising memory prices forced a small price increase on the 2.5TB Pixboom Pro card, though the company absorbed as much of the increase as it could. Both are curious to test the camera on normal frame rates to evaluate its overall image quality outside the high-speed use case.

Other NAB highlights – NiSi T1, OWC Express 4M2 Ultra

(01:15:33 in the episode)

Two additional products received brief coverage. NiSi teased a 50mm T1 cine prime with LPL mount and large-format coverage, claiming the T1 aperture is usable rather than merely decorative — a distinction they acknowledge requires verification. A 65mm T2.9 prime for large-format sensors (covering the Alexa 265, Ursa Cine 17K 65, and GFX Eterna 55 in open gate) was also shown, providing an approximately 11–13mm full-frame equivalent ultra-wide angle on those platforms.

The OWC Express 4M2 Ultra, a close runner-up to the iodyne in the storage category, is a DIY Thunderbolt 5 NVMe RAID enclosure offering up to 6,622 MB/s. Four NVMe drives can be installed in various RAID configurations (RAID 5, RAID 6, etc.), with passive cooling, two Thunderbolt 5 ports for daisy-chaining a full-resolution display, and potential total capacity up to 32TB. The hosts position it as an ideal fast-offload travel companion.

(01:20:47 in the episode)

DJI releases three products – Mic Mini 2, Lito drones, Power 1000 Mini

(01:22:53 in the episode)

Outside of NAB, DJI released three products in quick succession. The DJI Mic Mini 2 is an 11-gram transmitter with three voice tone presets, two-stage active noise cancellation, and automatic limiting. It records at 48 kHz / 24-bit — not 32-bit floating point — and pairs with existing Mic Mini, Mic 2, and Mic 3 transmitters via the current mobile receiver. Pricing starts at €54 for one transmitter plus mobile receiver, and €89 for two transmitters plus one receiver. Nino notes the growing difficulty in distinguishing this from competing systems, and personally waits for a 32-bit version with external microphone support.

DJI Lito 1 and Lito X1 – another addition to DJI’s sub-250-gram drone category. Image credit: CineD

The DJI Lito X1 and Lito 1 are two new sub-250-gram drones aimed at first-time aerial creators. Both share the same chassis; the Lito 1 (€309) has a half-inch sensor with no log or HDR, while the Lito X1 (€379) features a 1/1.3-inch sensor, 10-bit D-Log M, 14 stops of dynamic range, and a forward-facing LiDAR. Both offer 32-minute flight time and C1 classification. Controllers are included only in Fly More combo packages.

(01:25:17 in the episode)

The DJI Power 1000 Mini is DJI’s smallest battery station to date: half the chassis size of the original Power 1000 at 11.5 kg, with a built-in retractable 100W USB-C cable, 400W car charging, 400W solar input, and 80% recharge in 58 minutes. Priced at €579 in Europe.

(01:27:18 in the episode)

ARRI cforce MAX – brushless lens motor replaces the decade-old cforce plus

(01:28:41 in the episode)

ARRI’s cforce MAX replaces the cforce Plus, which has been on the market for roughly a decade. The new motor is 15% smaller and lighter, twice as fast, and adds an onboard touchscreen for configuration. It supports 15mm and 19mm rod systems. Nino notes that CineD is currently using cforce Plus motors on their behind-the-scenes coverage of the Eurovision Song Contest media collaboration with ARRI, which will be covered in an upcoming episode. The cforce Mini and Mini RF are not affected by this replacement.

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