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The camera world wants to see GoPro succeed, and the MISSION 1 Pro that I’ve been testing for the last week is the most important release in the brand’s history. As creators’ demands evolve, traditional action cameras are no longer confined to being mounted on a mountain bike’s handlebars.
GoPro haven’t helped itself in recent years, with layers of friction in their products and false starts on new software that have forced consumers towards Chinese competitors. I use action cameras every time I shoot a car (here’s an example of a recent video), so when brands like DJI released products with better battery life, microphone capabilities, and overall better UX at an even more affordable price point, the GoPro found its way out of my camera case and into the drawer. To beat these cameras, GoPro has its work cut out for it, but they’ve certainly put their best foot forward here.
It’s still a little too early to weave the GoPro MISSION 1 Pro into my professional workflow (I’m without ND filters for now), but I’ve still been able to see how it functions for most buyers by testing it out as a vlogging and stills camera. These are the two areas that GoPro has leaned on for the MISSION 1 Pro. Given its massive sensor and cinema-grade features, it functions far more like a pocket cinema rig than a traditional action camera.
Pros & Cons
| Pros | Cons |
| 1-Inch Sensor: Delivers excellent low-light performance and 8K Open Gate resolution. | Physical Weight: Weighing 207g, it is noticeably bulkier than the 159g HERO13 Black. |
| 32-Bit Float Audio: Prevents clipped or distorted audio in unpredictable recording environments. | Storage Demands: Recording at up to 240Mbps requires high-capacity SSDs and capable post-production hardware. |
| Extended Battery Life: The 2150mAh Enduro 2 battery provides significant runtime increases over previous generations. | Steep Price Point: AUD$1,099.95 for new customers, it’s a significant investment for casual users. |
| Native Waterproofing: Submersible down to 66ft (20m) without requiring a secondary housing. |
The Sensor: Breaking the 1-Inch Barrier
The primary hardware shift in the MISSION 1 Pro is the new 1-inch (1.0-Type) sensor, which is larger than any other action camera on the market. Recently, the action camera market has been scraping the ceiling of what smaller sensors can do, and to put this in perspective, the DJI Osmo Action 6 uses a 1/1.15″ sensor (making it 25.4% smaller than the MISSION 1 Series), and the Insta360 Ace Pro 2 uses an even smaller 1/1.3″ sensor.
When shooting in 8K, the pixel size is 1.6µm. However, the most practical application of this sensor is the 4K Open Gate mode. Here, the sensor utilises Quad Bayer 12MP technology, increasing the pixel pitch to 3.2µm. That means, in practical terms, the noisy low-light footage typical of older action cameras is significantly reduced. To achieve this, it leverages Simultaneous Dual-Gain Readout HDR, sampling pixels at multiple conversion gains to process shadows and highlights simultaneously in a single exposure. However, I have to be completely honest and say that I don’t specifically look for low-light performance in an action camera.
What I do look for is image quality, which is also improved thanks to this sensor and is particularly noticeable in the 8K30 Open Gate mode. Shot in a full-frame 4:3 aspect ratio, it offers significant post-production flexibility. You can punch in, reframe for vertical social video, or apply aggressive post-stabilisation without degrading your final 4K export.
Paired with 10-bit colour and the new GP-Log2 encoding with included LUTs, you have the necessary headroom for professional colour grading. This is something that has really impressed me with the MISSION 1 Pro so far.
Underwater Performance: Best-in-Class Diving
I’m not a diver, but it is worth noting that the MISSION 1 Pro delivers out of the box for diving. It’s waterproof down to 66ft (20m) without a secondary housing. If you require deeper access, the Protective Housing extends that rating to 196ft (60m).
The standout feature underwater was the software integration. The camera features a “Dive” capture mode that uses the GP3 processor’s algorithms to automatically tune video stabilisation and settings for underwater environments. It dynamically adjusted to the blue and green colour shifts, eliminating the immediate need for physical red filters. Additionally, the hydrophobic lens cover actively repels water droplets upon surfacing, keeping the lens clear. If you’re heading on holiday and you plan on doing a bit of snorkelling, this is the camera to bring.
Audio: 32-Bit Float Integration
For run-and-gun creators, the audio upgrade is arguably as important as the video specs. The MISSION 1 Pro includes 32-Bit Float audio recording. This format captures a wide dynamic range, making it highly resistant to clipping or distortion, even in the presence of sudden spikes in environmental volume.
Out of the box, the hardware includes a 4-microphone array with a rear-facing mic, two front-facing stereo mics, and a self-draining mic for wind noise reduction. However, for more professional setups, the built-in Bluetooth 5.3 lets you pair the GoPro Wireless Mic Complete Kit directly with the camera. But this brings me on to my first real negative with the MISSION 1 Pro: the camera’s inability to record high-quality audio from third-party microphones. I used the GoPro MISSION 1 Pro with a brand-new Insta360 Mic Pro 2 set (Bluetooth 5.4), and the audio quality is severely lacking.
GoPro might have developed a clever codec for its own Wireless Mic Complete Kit, but neither the Insta360 Mic Pro 2 nor the DJI Mic 3 could record high-quality audio. That forced me to use the Insta360’s 32-bit internal recording and synchronise in post, which adds an unnecessary layer of friction you won’t find with DJI.
Battery Life and Thermals: The Enduro 2
GoPro cameras have historically struggled with thermal limits in stagnant environments. It’s something I experienced constantly when using the GoPro mounted on the inside of a car’s windscreen. However, the MISSION 1 Pro addresses this with a new 5nm GP3 processor that improves power efficiency and a physically larger 2,150mAh Enduro 2 battery.
The brand claims the camera can achieve over 5 hours of runtime at 1080p30 (a >70% increase over the HERO13) and over 3 hours at 4K30 (a >80% increase).
With my real-world testing over the past week, the camera reliably recorded continuous 4K video for hours without triggering a thermal shutdown. When the battery does deplete, the PD2.0 fast charging with PPS technology recharges the unit from 0% to 80% in 27 minutes.
Just note that there’s a trade-off in terms of physical space for these upgrades. The MISSION 1 Pro weighs 207 grams, making it noticeably heavier than the 159g HERO13 Black it replaces. This extra weight is apparent when mounted to a helmet or a lightweight chest rig, but less noticeable when used in professional filmmaking environments where the camera is hard-mounted.
The Verdict
It’s still early days in my testing, but the GoPro MISSION 1 Pro has shown serious promise. I will continue to weave the GoPro into my content creation, and once I have ND filters, we’ll have a better idea about the performance of the GP-Log2 files.
Priced at AUD$1,099.95 for new customers, the MISSION 1 Pro is significantly more expensive than the current competition. For comparison, the brand-new DJI Action 6 Standard Combo is $669, while last year’s DJI Action 5 Pro is $599. Over in the Insta360 camp, the Ace Pro sits at $567.99. Even if you already have a GoPro subscription, which brings the price of the MISSION 1 Pro down to $949.95 (a savings of $150), it’s still a massive premium over the competition.
If your primary use case is recording casual weekend activities, a lighter, more affordable option would be more suitable. However, as the prosumer content creator landscape evolves, and if you are a professional creator who needs to match footage with mirrorless cinema cameras, colour grade GP-Log2 files, and crop from an 8K sensor, the MISSION 1 Pro successfully bridges the gap between an action camera and a dedicated cinema tool.
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