Insta360 Mic Pro, Profoto ProPanel & ASUS OLED Reviews, OPPO Find X9 Ultra, and More – Focus Check ep117

by Felix TappeinerMay 21^st, 2026

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This week’s episode covers a packed week in filmmaking news: Nino shares what it was like to be embedded in the ARRI ALEXA 35 broadcast deployment at Eurovision 2026, followed by discussions of the newly released Insta360 Mic Pro, Graham’s review of the Profoto ProPanel 3×2 LED soft panel, two ASUS ProArt OLED monitor reviews, the OPPO Find X9 Ultra smartphone, a Sony a7 V firmware update, the Thypoch Voyager 24–50mm f/2.8 lens, the ARRI Omnibar LED bars, the NANLUX Matrix 2500 series, the Godox RS100R/Bi, a recap of the our MZed storytelling webinar, and an educational deep-dive into the SnorriCam.

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ARRI ALEXA 35 Live at Eurovision 2026

ARRI ALEXA 35 Live at Eurovision 2026 – CineD Goes Behind the Scenes of the Biggest Broadcast Deployment in ARRI History

(1:00 in this episode)

Nino recounts CineD’s behind-the-scenes access to the Eurovision Song Contest 2026 in Basel, the largest broadcast deployment of ARRI ALEXA 35 cameras in ARRI’s history. With 27 cameras covering the event, the production was a technical and logistical undertaking on a massive scale — roughly 150 million viewers watching simultaneously. CineD’s cooperation with ARRI resulted in an upcoming 20-minute documentary co-hosted on both channels.

Nino also addresses the widely discussed freeze-frame incident during the Czech song in the grand final. The culprit was a broken cable on a wireless transmitter — not the camera itself — and because the affected stage was built as a mirrored room with no alternative camera angle, there was no cut available. The Czech delegation appealed to redo the performance, but the EBU denied the request. A behind-the-scenes article with photos by Stefan Klinge from Riedel is already live on CineD.

Insta360 Mic Pro

Insta360 Mic Pro Released – E-Ink Display, 32-Bit Float Recording, Adjustable Pickup Pattern

(7:51 in this episode)

The Insta360 Mic Pro enters the crowded compact wireless microphone market with a few standout features. The most immediately visible is a full-color E-Ink display on the transmitter that lets users upload their own logo or choose from predefined graphics — a direct answer to a long-standing frustration with branded competitor devices. Nino and Johnnie see this as a genuinely clever use of the transmitter’s real estate and a likely differentiator.

On the audio side, each transmitter features a three-capsule array that uses DSP to emulate different polar patterns — omnidirectional, cardioid, and others — selectable from the receiver or the Insta360 app. The onboard NPU chip handles AI noise cancellation, which the hosts are cautiously optimistic about; past implementations in this category have often degraded vocal quality. Other specs include 32-bit float recording, 32 GB of onboard storage, fast charging (five minutes for 90 minutes of runtime), and a receiver that accepts up to four transmitters simultaneously.

Pricing: the transmitter standalone is $100, a one-transmitter/one-receiver kit is $200, and the two-transmitter/one-receiver kit is $330. The hosts note that the ‘Pro’ label is a stretch given the lack of a lavalier input, but expect the E-Ink display alone to drive strong sales.

Profoto ProPanel 3×2 review

Profoto ProPanel 3×2 Review – The World’s Brightest LED Soft Panel?

(18:30 in this episode)

Graham reviewed the Profoto ProPanel 3×2, a 2,000W LED soft panel that Profoto positions as the world’s brightest in its class, with a 120-degree beam angle that makes it a genuine soft light rather than a narrow fixture. At roughly 28 kg and priced at $15,000 (€12,600), it is firmly targeted at rental houses, gaffers, and large-scale productions.

Profoto is a publicly traded Swedish company with deep roots in photography flash equipment, and this product is part of their push into the cinema market. Graham reports initial skepticism from crew on set — the brand is less recognized in US cinema circles — but strong approval once they saw the output. Color accuracy numbers are exceptional: all TLCI ratings above 90, with many close to 100 across the full color range. The five rear cooling fans have an auto mode; in Graham’s tests, noise levels were not a practical issue.

Accessories were co-developed with DOPchoice and include grids, diffusers, and a mask kit that allows portions of the panel to be blocked — creating shaped light without flagging. The mask kit is $150, while some DOPchoice snap bags run around $1,000. The fixture comes with a three-year warranty, which Profoto is offering partly to build confidence in a market where they are still establishing a service footprint. It is a special-order item, not something available for immediate purchase at retail.

ASUS ProArt OLED PA27USD review

ASUS ProArt OLED PA27USD Review – On-Set 4K OLED with 12G-SDI and Built-In Colorimeter

(28:15 in this episode)

Gunther reviewed the ASUS ProArt OLED PA27USD, a 27-inch 4K OLED monitor with 12G-SDI and a built-in colorimeter — a combination ASUS has not shipped in a monitor before. The colorimeter flips out from the bezel, runs an automated calibration sequence, and retracts — a genuinely useful feature that tested well against standalone solutions like Spyder.

Color accuracy is strong: 100% sRGB, 95% Adobe RGB, 99% P3, and Delta E values around 1. The monitor also ships with a metal handle for easy transport, and its stand supports both a VESA mount and fold-out feet for table use. One recurring issue carried over from previous ASUS models is a faint high-pitched sound on power-up. ASUS has been notified, and a firmware fix is expected, as they resolved the same issue on a prior model. Nino and Johnnie also pass along a call to listeners: if you have had customer service issues with ASUS’s pro monitors specifically, they are gathering specific accounts to pass directly to their ASUS contacts.

ASUS ProArt Display OLED PA32USD announced

ASUS ProArt Display OLED PA32USD Announced – 31.5-Inch 4K QD-OLED with Dual 12G-SDI and 1000-Nit HDR

(33:10 in this episode)

Shortly after our review of the PA27USD was published, ASUS announced a larger sibling: the 31.5-inch PA32USD. It carries similar specs — 4K QD-OLED, high color accuracy — but adds dual 12G-SDI (in and out) and a 1,000-nit HDR output, reinforcing ASUS’s intent to target professional grading and on-set monitoring workflows. The hosts have not yet measured it, but note it offers more screen real estate for multi-window grading work and positions itself as a competitor to monitors from SmallHD and the newer Atomos line.

OPPO Find X9 Ultra

OPPO Find X9 Ultra Coming Soon – 8K Log Recording, 4K 120fps Dolby Vision, and an ACES-Certified Color Pipeline

(36:36 in this episode)

The OPPO Find X9 Ultra is a Chinese Android flagship co-developed with Hasselblad, promising 8K log recording, 4K 120fps Dolby Vision, and an ACES-certified color pipeline — features that put it squarely in conversation with serious video production. A second-generation log profile, in-camera LUT embedding, and a collaboration with Tilta for a ready-made Kronos phone rig kit round out the filmmaking credentials. An optional Hasselblad-branded 300mm accessory lens attaches via an adapter case.

The hosts are genuinely interested but flag one concern: the published spec sheet does not list 24p or 25p frame rates, showing only up to 30fps in 8K, which raises questions about whether cinema-standard frame rates are supported. Launch is expected around May 25–26 in some markets, with European availability around June 15. Two storage configurations are available: 512 GB and 1 TB.

Sony a7 V firmware v2.00

Sony a7 V Firmware v2.00 Adds 32-Bit Float Audio With Adapter, Preset Focus, and More

(44:00 in this episode)

Sony’s firmware v2.00 for the a7 V adds 32-bit float audio recording via a new XLR adapter. The adapter — not the older XLR-A3 — is required to unlock the feature, and it comes at a steep price: $780 USD / €633. The hosts are critical of the pricing, noting that the predecessor adapter was roughly half the cost, and that many existing wireless audio solutions already capture 32-bit float but cannot pass it through XLR without workarounds. The adapter also drops the 3.5mm input, forcing XLR-only connections.

Other improvements in v2.00 include Preset Focus and additional autofocus refinements. The hosts recommend, as always with Sony firmware, letting early adopters update first before applying to a working camera. The broader point they make: 32-bit float should ideally move inside the camera body itself, as Nikon demonstrated with the Zf — the adapter approach feels like a first-generation solution.

Thypoch Voyager 24–50mm f/2.8

Thypoch Voyager 24-50mm f/2.8 – Brand’s First Autofocus Zoom Arrives for Sony E-Mount

(49:41 in this episode)

Thypoch — the photo-lens sister brand of DCO Film — has released its first native autofocus zoom lens: the Voyager 24–50mm f/2.8 for Sony E-mount. The brand has built its reputation on character-driven manual focus primes (the Simera line), and this is a departure into autofocus zoom territory. It is marketed as a replacement for two or three primes, covering a practical range for run-and-gun and portrait work at a constant f/2.8.

Rendering characteristics from supplied images show soft bokeh, gentle highlight rendering, and a subtle but not aggressive star effect. Johnnie draws a direct comparison to the Sigma 18-50mm f/2.8 APS-C lens — similar aperture, similar pricing — and notes the Thypoch is a full-frame option at a competitive $650 (introductory pricing lower). Currently only available for Sony E-mount; no other mount options have been confirmed.

ARRI Omnibar LED bars

ARRI Omnibar LED Bars Unveiled – RGBAM Color, IP65 Build, and Magnetic Optics

(53:24 in this episode)

ARRI has entered the LED bar market with the Omnibar, available in two-foot and four-foot lengths. The key differentiating feature is magnetically interchangeable optic attachments: rather than a permanently diffused tube (the standard in most competing products), the Omnibar ships with bare LEDs and allows users to snap on a flat diffuser, round diffuser, intensifier, or grid — or use the bar open-face inside a larger softbox. This gives far more flexibility to shape and direct the light without fighting a built-in softener.

Other specs include IP65 weatherproofing, a full-spectrum CRI-98 output, an RGBAM color engine with a 1,700K–20,000K range, 32 individually addressable pixel zones for effects, onboard Bluetooth, wired DMX, and Timo2 CRMX wireless control. The bars can be daisy-chained and magnetically combined. A built-in battery offers up to two hours at full brightness. The Omnibar 2 (2ft) creator set starts at $850; the Omnibar 4 (4ft) starts at $1,400. Both are available in ARRI’s signature silver-blue or in black. The hosts note genuine market interest in the launch and see the removable modifier system as a meaningful step forward for the category.

NANLUX Matrix 2500B and 2500C

NANLUX Matrix 2500B and Matrix 2500C Announced – 2500W Fixtures for Lighting Arrays

(1:02:27 in this episode)

NANLUX is expanding into high-output stage and array lighting with the Matrix 2500B (bi-color) and 2500C (RGB/color). Each unit functions like four large Fresnel-style spotlights, with an optional motorized Fresnel bar attachment that adds another layer of control. Four can be stacked in a dedicated frame for a combined output approaching 10,000W. The fixtures are IP66-rated for outdoor use, include four rear fans for thermal management, and integrate fully with the Nanlux app ecosystem.

Pricing is $5,600, though the hosts flag an unusual marketing situation: the fixtures appeared on B&H as ‘new’ but already discounted by nearly $1,000. Nino questions the logic of launching with an artificial discount, given that Nanlux is already known for competitive pricing. A flight-case bundle version is also available. The hosts see this as Nanlux making a clear statement about entering the spotlight and stage lighting segment, competing in a space traditionally occupied by brands outside the film lighting world.

Godox RS100R/Bi

Godox RS100R/Bi Introduced – High-Output for Mobile Production, and Versatile Accessory System

(1:08:29 in this episode)

At the opposite end of the scale from the Nanlux, Godox has introduced the RS100R (RGB) and RS100R/Bi (bi-color): compact, cylindrical S-mount monolights with a built-in battery that output up to 28,600 lux at one meter. The form factor is designed around a broad accessory ecosystem — softboxes, Fresnel attachments, spotlight adapters, gobos — making it a flexible single-light solution for mobile production. Bi-color pricing starts at $180 at B&H; the RGB version is $320. App controllable. The hosts see it as part of a broader trend toward small, battery-powered lights built around interchangeable modifier systems.

A Mighty Cut – MZed storytelling webinar recap

A Mighty Cut and How it Drives the Story – Free Storytelling Sessions Webinar

(1:10:59 in this episode)

MZed hosted their first free live webinar this week, titled ‘A Mighty Cut.’ Mascha Dekova covered how editing choices — specific types of cuts — shape narrative and emotional impact, tracing the practice from the Kuleshov effect through to modern examples. The session saw strong live attendance, active Q&A, and a quiz segment. The hosts describe it as a clear success and plan to run similar free storytelling sessions approximately once a month or every six weeks. Live attendance is always free; recordings go into the MZed Pro library for subscribers. The next session is expected to be announced shortly, with the session itself likely at the end of June.

The visceral subjectivity of the SnorriCam

The Visceral Subjectivity of the SnorriCam – Capturing Internal Turmoil with Body-Mounted Rigs

(1:12:54 in this episode)

Mascha Dekova also authored a new educational article on the SnorriCam — the body-mounted camera rig that films an actor from the front, producing a distinctive effect where the subject appears still while the world moves around them. The piece analyzes famous examples from cinema history, examines the psychological and narrative effects the rig creates, and includes a behind-the-scenes look at a particularly sophisticated rig used on Bad Boys 2, where the camera could also perform whip pans while attached to Will Smith. A useful reference for any DP or camera operator curious about the technique.

You can watch and listen to the full video episode of Focus Check ep117 embedded on top, and find all episodes on Apple Podcasts, Spotify, and wherever else you get your podcasts.