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In this week’s episode of the CineD Focus Check podcast, Nino and Johnnie cover a remarkably packed week of filmmaking news. They dig into the brand-new DJI Avata 360 drone, which arrived at the CineD office literally the day before recording, discuss OpenAI’s surprise decision to shut down the Sora app and the collapse of its Disney deal, break down what GoPro’s patent case against Insta360 actually resulted in, and touch on the strange state of LA’s sound stage market. Along the way, there’s new audio gear, anamorphic lenses, firmware updates, autofocus breakthroughs, and some of the biggest business stories in the industry right now.
(07:27 in the episode)
The DJI Avata 360 is DJI’s first 360-degree drone and a direct competitor to the Antigravity A1 — a drone incubated by Insta360 that launched just a few months ago. True to form, DJI has entered the market late, undercut the price significantly, and overwhelmed with specs.
Key highlights compared to the Antigravity A1:
One important regulatory note: the Avata 360 weighs approximately 455g, which means it requires C1 compliance, registration, and Remote ID in the EU. The Antigravity A1 at 249g flies below most regulatory thresholds — a genuine advantage for casual users.
The Avata 360 is also a successor to the original Avata FPV drone, maintaining full compatibility with DJI’s Goggles 3, RC2, and RC Motion 3 controllers. Crucially, it can also function as a standard drone using only the front-facing camera — something the A1 cannot do. The one area where Insta360 may still have an edge is post-production software for 360 footage, where years of experience show. Nino plans a first-look soon.
Read our full article: DJI Avata 360 Drone Introduced – 8K60 360 Video and O4+ Transmission
(26:08 in the episode)
Less than six months after launch, OpenAI is shutting down the Sora app. The company cited a pivot toward enterprise workflows and the need to cut operating costs. Usage had dropped dramatically after an initial surge, and generating AI video at scale costs OpenAI money on every clip — an unsustainable model without advertising or large enterprise contracts.
Tied to the shutdown is the collapse of a reported $1 billion deal with Disney, which would have allowed Sora users to generate content using 200 characters from Disney, Marvel, Pixar, and Star Wars universes. That safety net is now gone.
Officially, the Sora research team will pivot to “world simulation research” for robotics. Competitors, including Google’s Veo and Chinese platforms such as Kling, continue to push video generation quality forward. As Nino and Johnnie noted, the broader picture for OpenAI is one of financial pressure: the highest burn rate among AI companies, comparatively lower enterprise revenue than Anthropic, and a growing reliance on sovereign wealth fund backing.
Read our full article: OpenAI Shuts Down Sora as Disney Exits $1 Billion AI Video Deal
(34:54 in the episode)
GoPro’s Q4 results showed revenue of $202 million — essentially flat year-over-year — but with a 19% decline in units sold. The company continues to lose market share to DJI and Insta360, whose action cameras have surpassed GoPro in many key areas.
On the patent front, GoPro CEO Nick Woodman framed the ITC ruling as a win. The reality is more complicated. While the ITC did issue exclusion and cease-and-desist orders against Insta360, those orders apply only to older, discontinued ACE series models no longer sold in the US. More significantly, all five of GoPro’s utility patent claims — covering HyperSmooth stabilization, horizon leveling, distortion correction, and aspect ratio conversion — were dismissed as either invalid, not infringed, or both.
In short, GoPro won on camera aesthetics, but lost on the technology inside. Legal fees have grown large enough to appear as a dedicated line item in the company’s financials — money that might have been better spent on the new GP3 processor and the 2026 camera lineup. New products are expected in Q2.
Read our full article: GoPro Loses $93.5 Million and Its Patent Case Against Insta360
(40:44 in the episode)
FilmLA’s latest data shows sound stage occupancy in the Los Angeles area sitting at just over 60% — down dramatically from 94% during the COVID-era production boom. Despite this, construction of new sound stages continues at a record pace, which feels deeply counterintuitive.
Industry insiders point to a mix of explanations: tax write-off strategies, speculative bets on future conversions to residential use, and the long lead times of planning permissions already in motion years ago. Meanwhile, the UK, Canada, New York, and Georgia are all growing their production infrastructure and attracting more international shoots with competitive incentives and established crews.
Read our full article: LA Is Building More Stages Than Ever, So Why Are They Empty?
(44:59 in the episode)
The CineD Best-of-Show Awards are back for NAB 2026, and submissions are now officially open. Manufacturers bringing products to Las Vegas this April can submit across multiple categories. A small submission fee keeps entries focused and manageable. NDAs can be arranged for unannounced products. Winners receive dedicated editorial coverage on CineD, use of the official award logo, and a feature spot on the Focus Check podcast. Submitting before the show gives the editorial team the most time to evaluate.
Read our full article: CineD Best-of-Show Awards at NAB 2026 – Submit Now
(48:34 in the episode)
The Saramonic Air SE is a compact wireless microphone system built specifically for mobile filmmaking. At $49 for the USB-C kit (or $69 for the combo kit with both USB-C and Lightning receivers), it comes with two 5-gram transmitters and a charging case good for up to 28 hours of total recharging across the transmitters and receiver.
What makes it stand out is the AI-driven noise cancellation, which adapts to the actual ambient sound environment rather than applying a static noise reduction pattern. Nino tested it next to a loud excavator and found the mid-level setting produced a genuinely natural-sounding voice with effective background suppression — more than adequate for the majority of influencer and content creator use cases. It is not a professional lav mic replacement, but at this price point and weight, it earns a permanent spot in any mobile kit bag.
Read our full article: Saramonic Air SE Wireless Microphone Introduced
(54:30 in the episode)
DSC Labs — makers of the Xyla High Dynamic Range chart that CineD uses for its own lab tests — closed roughly 18 months ago when its founding couple retired. Now the company has been revived by Matt Conrad, an experienced DIT, who has relocated the business from Toronto to Los Angeles. For CineD, and for many others in the industry who rely on the Xyla chart for standardized dynamic range and latitude testing, this is genuinely welcome news. No direct replacement for the DSC Labs charts existed, and the gap they left was felt across the industry.
Read our full article: DSC Labs Revived Under New Ownership, Relocates to Los Angeles
(56:38 in the episode)
DZOFILM has announced the Arcana series — full-frame PL mount anamorphic lenses with a 1.5x squeeze and T2.1 aperture. At around 700g each, with a clean, compact design and a shared 77mm front filter thread across the set, they enter a crowded field alongside the Blazar Viper and Viltrox offerings. Pricing starts at approximately $1,100 per lens, with the full set at around $2,900. A notable detail: the PL mount rotates, allowing vertical shooting orientation. DZOFILM’s own Octopus adapter makes them compatible with E-mount, L-mount, RF, and other camera systems.
Read our full article: DZOFILM Arcana 1.5X Anamorphic T2.1 Full-Frame Lenses Introduced
(01:01:29 in the episode)
Sony ambassador Alister Chapman released a detailed breakdown video explaining how to properly expose using Sony’s Cine EI mode — available on the FX9, FX6, FX3, and FS7. The video clarifies the difference between ISO and Exposure Index, explains the concept of shifting the exposure midpoint for maximum dynamic range, and addresses common misconceptions. It also covers the dual-ISO behaviour specific to the FX3 and FX6. If Cine EI has ever felt confusing, this is the definitive guide.
Read our full article: Alister Chapman Breaks Down Sony’s Cine EI to Help Maximise Image Quality & Dynamic Range
(01:03:32 in the episode)
FUJIFILM’s Focus on Glass community vote has concluded, and the most-requested lens — with over 11,000 votes — is the XF 16-80mm F2.8. It reflects what the community most wants: a versatile, fast, all-in-one lens for APS-C that covers wide to portrait focal lengths. Second place went to the 18-50mm F1.4, a narrower but faster alternative. Third was the XF 18-30mm, a switchable dual focal length concept. Cine lenses came in at number 11 of 14 — a clear signal that FUJIFILM’s community priorities lie elsewhere for now. Nino and Johnnie plan to follow up with FUJIFILM at NAB.
Read our full article: FUJIFILM Focus on Glass Voting Results: XF16-80mmF2.8 Wins
(01:07:07 in the episode)
Blackmagic Design has released a new test firmware build for the PYXIS 6K that enables autofocus for the first time on that camera — supporting single AF, continuous AF, face detection, object tracking, and a resizable focus box. It works on both the L-mount and EF-mount versions of the camera.
Early community testing shows face detection performing reliably in good light, with fast subject reacquisition after brief occlusion. EF-mount lenses show slightly less consistent performance than native L-mount glass, and some Sigma Art primes produce audible motor noise. The Canon EF 24-105mm worked well on the EF-mount version. Sigma lenses via the MC-21 adapter also performed reasonably.
As for the PYXIS 12K: that camera uses a fundamentally different RGBW sensor technology compared to the Bayer sensor in the 6K, meaning autofocus implementation there will require significantly more engineering work. It’s coming, but no timeline has been confirmed.
Read our full article: Blackmagic PYXIS 6K Autofocus Introduced via New Test Build
(01:12:42 in the episode)
The Dockcase Selfix is an iPhone 17 Pro and 17 Pro Max case with an AMOLED touchscreen built into the back — a round, 480×480 display that mirrors the phone’s main screen in real time. The concept: let content creators use the phone’s best rear cameras as selfie cameras, while still being able to frame and monitor the shot from the back of the device.
It also includes a microSD card slot supporting cards up to 2TB (UHS-I Class 10 / V30), though the speed is limited to drag-and-drop file management rather than direct recording. The Selfix is currently live on Kickstarter, already successfully funded, with early bird pricing from $89 and a standard retail price of $129.
Read our full article: Your iPhone 17 Pro’s Best Cameras, Now for Selfies – Dockcase Selfix
(01:19:26 in the episode)
The Viltrox NexusFocus F1 review is finally live, written after an extended testing period that began with a very early pre-production unit. The adapter makes PL lenses autofocusable by tapping into the Sony E-mount camera’s native AF system — using the camera’s own sensitivity and transition speed settings, translated through the adapter to the attached focus motor.
The standard set at $600 includes the adapter and two motors; a single-motor set is available at a lower price point. Its main competitor, the Tilta Nucleus Autofocus Adapter, starts at $269 but requires the addition of a Nucleus Nano II or M2 to function — bringing the complete set to a comparable price. A third option, the PD Movie Smart Fusion Adapter, combines this functionality with LiDAR.
The Viltrox system is best suited for creators who want a self-contained autofocus solution for PL glass. The Tilta system appeals more to first ACs who want to override AF from a hand unit. The review is embedded in our article, along with the recommended video from the Off2Lens channel demonstrating real-world performance.
Read our full article: Viltrox NexusFocus F1 Review – Autofocus for PL Lenses Put to the Test
(01:27:29 in the episode)
Audio-Technica is entering the on-camera shotgun microphone space for the first time in over ten years with two new models. The ATV-SG1LE is the entry-level option for content creators: compact, with a 30-degree swivelling mount and a straightforward feature set. The ATV-SG1 is the more advanced model and the bigger story here.
The SG1 can simultaneously record two audio sources — the shotgun mic itself and an external lavalier connected via the integrated microphone socket — with independent volume control for each channel. It can also deliver a safety track at a lower level alongside the main recording, passing both channels into the camera. A built-in rechargeable battery (USB-C) powers the recording functionality. Pricing: ATV-SG1LE at $119, ATV-SG1 at $249.
Nino and Johnnie noted that built-in recording capability (e.g., via microSD) would make the SG1 a near-perfect field tool — a question they plan to raise with Audio-Technica at NAB.
Read our full article: Audio-Technica ATV-SG1 and ATV-SG1LE On-Camera Shotgun Microphones Introduced
(01:32:56 in the episode)
After a roughly one-month delay from its originally announced February release, Sony’s major FX6 firmware update is now available. Version 6.00 brings the BIG6 menu interface, external Blackmagic RAW recording support, and autofocus improvements. The update takes up to 15 minutes and has been broadly successful for most users, though the usual caution applies. A 6.01 patch was also already available at time of recording. If you’re a DaVinci Resolve user, the external BRAW capability alone makes this a significant update.
Read our full article: Sony FX6 Firmware Version 6.00 Released
(01:35:09 in the episode)
Nikon has issued a technical service advisory for the Z6 Mark III, Z5 II, and ZR cameras, affecting certain serial numbers where components used during manufacturing did not meet Nikon’s quality standards and could cause the cameras to become inoperable. Nikon is offering free inspection, free repair or part replacement, and free shipping to and from service centers — regardless of warranty status. If you own one of these cameras, check the serial number lookup tool linked in our article.
Read our full article: Nikon Issues Technical Service Advisory for Z6III, Z5II, and ZR Cameras
(01:37:14 in the episode)
Independent developer Bruce has launched AnamorphicTool, two OFX plugins for DaVinci Resolve. One plugin applies an anamorphic look — including optical distortion characteristics — to spherical footage. The other enhances the anamorphic look of footage already shot with an anamorphic lens. The plugins are demanding on system resources, so check the specifications in the article before purchasing. It’s a one-time purchase at $20, with a free trial available for both Windows and macOS.
Read our full article: AnamorphicTool Launched – Two OFX Plugins for DaVinci Resolve
(01:40:13 in the episode)
Apple has acquired MotionVFX, a Polish software company with over 15 years of experience and 70 employees, known primarily for their Final Cut Pro plugins but also supporting DaVinci Resolve and Premiere Pro. Their tools include AI-powered rotoscoping, surface tracking, 3D object placement, and AI-assisted video upscaling.
The acquisition fits Apple’s broader strategy of growing their services business (now at $30 billion annually) and expanding the capabilities of their Creator Studio subscription. As with past Apple acquisitions in this space, it seems unlikely that MotionVFX plugins for competing NLEs will continue to be developed. Good news for Final Cut users; less so for DaVinci and Premiere users who relied on their tools.
Read our full article: Apple Acquires MotionVFX – What This Could Mean for Final Cut Pro, Creator Studio, and Competing NLEs
(01:44:03 in the episode)
YouTube’s $62 billion in ad revenue in 2025 has surpassed Disney’s total annual revenue of $60.9 billion — making YouTube, if measured as a standalone company, the world’s largest media company by revenue. Around $40 billion of that came from advertising, with the remainder from YouTube Premium, YouTube TV, YouTube Music, and NFL Sunday Ticket. Over the past four years, YouTube has paid out more than $100 billion to creators, music companies, and media partners.
And from 2029, YouTube will replace ABC as the global broadcast home of the Oscars — a genuinely symbolic shift. As Nino put it, YouTube is the new TV.
Read our full article: YouTube Is Now the World’s Largest Media Company – And Soon the Home of the Oscars
(01:51:25 in the episode)
Adobe has settled a Department of Justice lawsuit over its subscription cancellation practices — specifically, the fact that cancelling an annual-paid-monthly Creative Cloud subscription early can cost users hundreds of dollars in early termination fees, a fact that was buried in fine print and inconspicuous hyperlinks at signup.
The settlement requires Adobe to present subscription terms more clearly going forward, but does not eliminate early termination fees entirely. Some affected users will receive refunds. The penalty itself goes to the government. For filmmakers who have hit the infamous cancellation fee, it’s a moral victory — though the practice, reworded, continues.
Read our full article: The $150 Million Price of “Cancel”: Adobe Settles DOJ Lawsuit Over Subscription Practices
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Videographer with a deep audio background — including 7 years at a microphone manufacturer. Currently working in broadcast production and specialized in video podcast production. Co-founder of Yon.studio